Catalogue > Liste par artiste

At a time before time, a Big Bang in Babel sat the uni-logos into a perpetual process of language breeding. Depleted and stripped of its initial inertia, language can no longer keep up, and slowly crumbles to phonetic fragments of ghostly meaning. Dialect-ic-s coalesce, and separates overlap. Accidentally excavated, scraps of mental images that outlived history are crunched into an associative mash. No-longer-indigenous tongues exercise “language games” of syntactic deconstruction, morphing seemingly heterogeneous linguistic signs until foreign words resettle in newly-found ears. Persistent utterances in Bal-balah (befuddlement/ clutter/ Babelising) show no mercy for hesitation or stuttering; in this framework there is no place for affective becoming, yet at the same time, the loss of the power fossilized in words opens up a space of flexibility to ascribe new and elusive meanings.

Mohamed A. Gawad is an editor and a filmmaker based in Cairo. He holds an MFA in scriptwriting and editing from RSICA. His works were screened in several festivals and spaces including Berlinale, Internationale Kurzfilmtage Oberhausen, Shnit Film Festival, Contemporary Image Collective - Cairo, and Les Instants Vidéo Numériques et poétiques. He is also a co-founder of Cimatheque – Alternative Film Center.

A market and playground in Queens, New York, a borough of New York City, become the site for the shooting of a film inspired by Paolo Javier’s Original Brown Boy poems. Wearing the tell-tale masks of our daunting now, five New York City performers search for a meal while speaking in verse. The film itself transforms into an ars poetica/ cinematica, a meditation on writing and making images in the liminal space between a global pandemic and what might come next.

Lynne Sachs is a filmmaker and poet. Over the last three decades, she has created cinematic works that defy genre through the use of hybrid forms and cross-disciplinary collaboration, incorporating elements of documentary, performance, and collage. Her films explore the intricate relationship between personal observations and broader historical experiences, often from a personal, self-reflexive point of view. With each project, Sachs investigates the implicit connection between the body, the camera, and the materiality of film itself. Sachs’ early works on celluloid offer a feminist approach to the creation of images and writing— a commitment which has grounded her vision ever since. Her films have screened at the Museum of Modern Art, Wexner Center for the Arts, the Walker and the Getty. Retrospectives of Sachs’ work have been presented at the International Short Film Festival Oberhausen, Sheffield Doc/Fest, Buenos Aires International Festival of Independent Cinema, Festival International Nuevo Cine in Havana, Cork, and China Women’s Film Festival. Lynne lives in Brooklyn. Her work is represented by internationally by Kino Rebelde and is part of the Light Cone Catalogue in France.

Jacques Derrida’s staring cat Logos, a bowing deer, domestic servants, a headstrong mare and the director’s 19 years younger boyfriend are some of the characters we meet in the essayfilm Dear Deer. The distanced and slightly voyeuristic documentary footage, mainly shot in Argentina and Japan, is accompanied by a voiceover in which asymmetrical relations, trans-species empathy, embarrassment and shame are discussed in a both investigative, descriptive and confessive manner.

Endre Aalrust (b. 1973) is a Norwegian artist and film maker who is based in Berlin. He studied at the University in Oslo and National Academy of fine Arts in Bergen.  Aalrust has shown films in film and video festivals such as Internationale Kurzfilmtage Oberhausen (2019), Norwegians Short Film Festival, Grimstad (2019), HOMOGRAFÍA Film Festival, Mexico City (2018), Nordic Filmfest, Rome, (2018),International Film Festival Rotterdam (IFFR), (2016), Janela Internacional de Cinema do Recife, Brazil (2016), Athens International Short Film Festival Psarokokalo (2016), Xposed International Film Festival, Berlin, (2016), Rencontres, Paris/Berlin/Madrid (2003/2011), Viper film and Videofestival, Kunsthalle Basel (2004) and European Media Festival, Osnabrück (2002).  Solo exhibitions include: Hund om Det, Bruksrommet, Stavanger, (2018) Freedom of Impression, Bærum Kunsthall, Oslo, (2018), Urc de Triomphe, Kunstbanken, Hamar, (2015), The Rise and Fall of Rise and Shine, Gallery Erik Steen, Oslo (2011), Free Lunch, Daniel Reich Gallery, New York (2010), Sofa So Good, Galerie Sandy Brown, Berlin (2009). 

Carnal Incontinence is an experimental documentary, a poetic and non-narrative reflection on men, masculinity and art. Visitors in Gemäldegalerie Berlin are observed as their interact with art, space, time and eachother - focus on their corporeality, slow motion and mannered gestures.

Endre Aalrust is Norwegian artist born 1973, lives in Berlin and was educated at the Bergen National Academy of the Arts. Recent solo exhibitions : The Rise and Fall of Rise and Shine, Gallery Erik Steen, Oslo (2011), Free Lunch, Daniel Reich Gallery, New York (2010), Sofa So Good, Galerie Sandy Brown, Berlin (2009). Endre Aalrust has shown videos in film and video festivals such as Viper film and videofestival, Kunsthalle Basel, Rencountres, Paris/Berlin (2003), European Madia Festival, Osnabrück and video screenings in Caracas, Moscow, Prague, Stockholm, Berlin, Leipzig, Bergen and Oslo.

This film draws from conversations with Amazon Mturk workers and their relationship with the politics of the Mechanical Turk platform – the varying forms of transparencies and opacities that make the platform what it is. Focusing on the backend of AI and machine learning processes, the film investigates the relationships between the analogic, the digital and the terrestrial. What kind of work is required for smooth functioning of automation? Who does this backend work, where does it take place, and what does it entail? Using the very processes that workers help train on online platforms as material, recursions of different scales takes place, where we see language, the ability to define and speak clear English as central. A second focus is an exploration of the subjective nature of data gathering, processing and annotating, and the material infrastructures it is dependent on. In the absence of any fixed constants, context or averages, abstraction emerges as an important and forced tool.

Aarti Sunder’s research and practice lies at the crossroads of the digital humanities and contemporary art. She is interested in the fictions arising from investigating situated experiences and asking if these help us re-think the ways in which we understand technology and our relationship with it. So far she has focused on contemporary labour practices, fictional edges of protest, myth and digital-terrestrial play. Aarti’s interest is to problematize the determined linearity of ‘progress’ inscribed within the promise of the algorithm, technological prowess and a quantifiable future. Looking at globalised framework of precarious labour, non-human exhaustion and storytelling that lies at the strategic intersection of power, knowledge and aesthetics. Relooking at these intersections, she believes, can help us tell better stories, of fictions past, present and future. Among other places, Aarti will exhibit her work at the forthcoming 67th BFI London Film Festival and in collaboration with Doreen Mende at Albertinum of the State Collections of Art in Dresden. She has previously shown at Akademie der Kunst, Singapore Biennale 22, Hayy Jameel, MIT, Warehouse421, the Goethe Institute in Chicago, Kunstverein Leipzig, Bauhaus Imaginista, Alserkal Avenue, Ashkal Alwan, ISCP and the Museum of Yugoslav History. She has been the recipient of many grants and fellowships from MIT, Sommerakademie Paul Klee, Harvard FSC Film Center, Art Dubai and Ashkal Alwan and the Sharjah Art Foundation. Aarti Sunder works with video, drawing and text and sculpture.

In 1985 a group of Kurdish fighters, known as a "Peshmerga", on a mission to attack one of the army’s camps in the north of Iraq. They took the Sirwan river by a small raft to cross the area which was controlled by the Iraqi army. This footage is part of an old archive taken by my father Abbas Abdulrazaq, a former Kurdish fighter and cameraman. He accompanied this group of Peshmerga to document their activity during the mission. Despite all the risks they have taken, the battle didn’t happen. Consequently, my father filmed them when they were singing a song. I was very intrigued by his action, so I asked my father why this particular footage never showed before? He mockingly replayed who wishes to watch a film that has no fighting scenes?

Sherko Abbas is a Kurdish-Iraqi artist. He was born in Iran in 1978, where his family lived as refugees. They returned to Iraq when he was two years old. Abbas studied Fine Art in Sulaymaniyah, Iraq and earned a Master of Fine Arts degree from Goldsmiths College, University of London in 2015. His work explores sonic and visual memory, with a focus on modern memory that relies on recorded materials. Additionally, Abbas is interested in the current geopolitical situation in Iraq. Abbas’ works have been exhibited and screened internationally including at: Archaic, the Iraq pavilion at the 57th Venice biennale; Theater of Operations, MoMA PS1, New York; May Flames Pave the Way for You, Arsenal gallery, Bia?ystok; Push Festival, Manchester , UK; Towner International, Towner Eastbourne, Eastbourne; Speaking Across Mountains, Middle East Institute, Washington D.C.; Baghdad Mon Amour, Institut des Cultures d’Islam, Paris; Vernacularity, Alternativa Festival, Gdansk; Estrangement, The Showroom, London. Also, his moving image works were screened at the Independent Iraqi Film Festival's online screening, the 38th Kassel Documentary Film and Video Festival in Kassel, Germany, Aashra, Ashkal Alwan Online Film, Rencontres Internationales Paris/Berlin at the Louvre Auditorium in Paris, the Open City Documentary Combined Programme: What Rules The Invisible in London, Visit Festival Het Bos Ankerrui 5-7 in Antwerp, Belgium, Ruya Shop in Baghdad, and Shasha Movies online streaming. Abbas also works as a curator, organizer, and coordinator of cultural events. He was the operations manager for the "Post-war Culture in Iraq" project (2010) and curated the Clamour project (2016). In collaboration with curator Aneta Szy?ak, he researched and coordinated the "In-between Worlds: Kurdish Contemporary Artists" project. This resulted in a collection of artworks from over 30 Kurdish-Iraqi artists and a book. The collection is now part of the Imago Mundi collection under the auspices of the Fondazione Benetton Studi Ricerche in Treviso, Italy.

Paper Puppet Testimony By Houzan Mahmoud The Kurdish uprising of 1991 against venomous dictator Saddam Hussein continues to be an important historical event for all Kurdish people. It was the day that marked the defeat of the Ba’ath regime in Kurdistan’s cities. Each year, video footage from that particular moment when people broke into the notorious prison in Sulaymaniyah is shown in commemoration programmes on Kurdish TV channels. The Red Prison (or Security Prison) was a dreadful building in the middle of the city. It stood out as a symbol of terror and oppression, for many years; hundreds of Kurdish men and women were tortured and killed there by the dictator. The video footage is part of an old archive taken by a former Peshmerga fighter and filmmaker Abbas Abdulrazaq. He was in the ranks of the Peshmerga forces from the 1980s onwards. He was one of the five photographers who took photos of the Halabja chemical bombardment by Saddam’ regime. While his video footage is used from the archive to show the brutalities committed by the former regime, Abdulrazaq’s son Sherko, an artist and scholar, noticed something was missing. He has a vague memory from the day of the uprising in front of the Red Prison. He remembers seeing a caravan full of colourful women’s clothes, anti-pregnancy tablets, and other materials. Sherko’s memory stayed with him through the years. At the time, he was almost 11 years old when he saw the caravan. This left its mark on him, and years later he decided to probe further into this story. Since 2008, Sherko has been searching for clues to help him get to the bottom of this mystery. The caravan could be seen for only a few days during the uprising in the courtyard of the prison. It has disappeared without a trace, however; hardly a memory of it remains. The Red Prison has now been turned into a museum, and its torture chambers and tools, along with prisoners’ writings on the walls, have been preserved so that subsequent generations could see the brutality of Saddam’s fascist regime. However, the parties behind this transformation were biased and only focused on the memories of those political prisoners who belonged to their own parties. They erased the entire history of female prisoners. The plight of those women and the mystery of the caravan were ignored and were neither included in the memory of the building nor on TV programmes because these women might have been raped, and the political establishment does not seem to be willing to confront that history. This issue has become a concern for Sherko, and he raises many important questions as to why rape of political prisoners should be treated with shame. Why are their sacrifices belittled and erased? The name of his documentary is “Paper Puppet Testimony,” which recounts the stories of Kurdish women in the Red Prison through experimental documentary. In his documentary, Sherko tries to bring their stories back into the realm of politics, art, and culture. He is interested in stories that are easily forgotten, and he wants to give them a platform to be narrated and incorporated into official memory.

SHERKO ABBAS Sherko Abbas (b. 1978) is a Kurdish-Iraqi artist. Born in Iran, where his family lived as refugees, Abbas returned to Iraq when he was two years old. He studied Fine Art in Sulaymaniyah-Iraq and graduated with a Masters in Fine Arts from Goldsmiths College, University of London in 2015.  Employing video, performance, sculpture, text and sound, Abbas’ practice is dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq. He has participated in many exhibitions internationally, including “Theater of Operations“  at MoMa PS1, Speaking a cross mountain Middle East Institute Washington, US, ‘Archaic’, the Iraq Pavilion at the 57th Venice Biennale; Biennale ‘Rencontres Internationales Paris/Berlin 2019’ at the Louvre Auditorium, Paris, France and Haus der Kulturen der Welt/ Berlin ; ‘Bagdad mon amour’ at the Institut des Cultures d’Islam, Paris, France; ‘Vernacularity’ at the Alternativa International Visual Arts Festival in Gdansk, Poland; and ‘Estrangement’ at the Showroom, London, UK

The theme of music is represented by work of Kurdish-Iraqi filmmaker Sherko Abbas: The music of the Bush era. in a split-screen video, using footage shot by his sister, a cellist in the Iraqi National Symphony Orchestra, he demonstrates how in 2003 the US administration, instead of helping the orchestra to properly re-establish itself in Iraq, militarily airlifted the entire orchestra to Washington to perform once at the Kennedy Centre before President Bush. his film is critical of this futile propagandistic gesture, enacted in the shadow of the invasion in March of the year to promote neo-liberal values, and escape censure. The work was partially inspired by Slavoj Zizek's analysis in his Pervert's Guide to Ideology of the widespread ideological use of Beethoven's Ode to Joy from his Ninth Symphony.

Sherko Abbas Born in 1978, in Sulaymaniyah, Kurdish Autonomous Region, Iraq. Lives and works in United Kingdom. He studied Fine Art in Sulaymaniyah and graduated with Master of Fine arts at the Goldsmiths University of London in 2015. He employs the media of video, performance, text and sound in his practice dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq and Kurdistan in Particular. He has participated in many exhibitions including his work THE MUSIC OF BUSH ERA was Shown in last Iraqi pavilion (Archaic) in Venice Biennale 57th, the Bagdad mon amour in ICI Paris, Vernacularity, Alternativa International Visual Arts Festival in Gdansk, Poland and the Estrangement in showroom London, Freedom at the barricades? Vaxjo Art Hall, Vaxjo, Sweden.

Une fuite dans le paysage.

Houri Der Stepanian-Abdalian a reçu sa formation à l?Ecole Nationale Supérieure des Arts Décoratifs de Paris (2002-2004) et à l?Ecole des arts visuels et médiatiques de l?Université du Québec à Montréal (Master ès Arts, 2001-2004). Elle a réalisé la performance ?Hands Up Motherfucker?, avec André S. Labarthe et Hraïr Hratchian, dans le cadre de Panorama 6 (prod. Le Fresnoy, Studio national), juin 2005. Ses installations multimédias ont fait l?objet d?expositions en France et à l?étranger notamment : ?Still Life with Voice, Water Glass and Vase?, une production du CIAM-Hexagram, qui a été présentée à la Galerie La Fabriq en janvier 2005. Artiste multidisciplinaire, elle a travaillé comme interprète pour l?installation ?Madame Marie Curie: A Series of Portraits taken in 1902? de David Tomas présentée au ZKM, du 23 juillet au 9 octobre 2005. Elle a récemment enregistré une performance vocale pour l?installation interactive ?Beauté Désincarnée? de Juhana Pettersson au Fresnoy, Studio national, juin 2005 et a interprété le rôle principale de Klara dans le court métrage ?Le Vaurien? de Gaspard Hirschi en novembre 2003. On compte parmi ses anciennes installations : ?Forwarding Objects? présentée au Centre de diffusion de l?ÉAVM en 2001,?Le lieu et son contenu imaginaire? présentée lors de la première triennale de ?l?Art qui fait Boum? en 2000 et ?Entre la perte et la translation? présentée à la Galerie de l?UQÀM en 1999. Son travail vidéographique fut diffusé à plusieurs reprises dans le cadre de visionnements publiques, notamment : ?Livingman? (Le Frenoy, Studio national, 2005), ?The Disorder of His Shirt and Tie Worried Him? (Le Fresnoy, Studio national, 2005), ?Gaspard ?? (Festival Fest-Hiver, Lavitrine Limoges, 2003-2005), ?A Numerical Adaptation of The Brechtian Theatre? (CDEX, EAVM, 2002), ?Autopoeisis? (Festival EICV, Cinémathèque québécoise, 2000) et ?Ulrich? (Festival EICV, Maison de la culture Mont-Royal, 1996). Vit et travaille en France et au Canada.

"You Waguih" se passe en France et raconte la relation entre un père, ancien réformé politique qui fut emprisonné sous Nasser, en Egypte et son fils devenu réalisateur de films.

Namir Abdel Messeeh est né le 7 Octobre 1974 à Paris. De 1996 à 2000 il étudie à la Fémis le métier de réalisateur. Depuis 2000 il enseigne le cinéma dans les lycées, il travaille aussi comme assistant réalisateur.

A group of men that we know nothing and that nobody understands a train which cuts through the cold night. A trip to a mysterious quest.

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Le film est basé sur la rencontre réelle que les réalisateurs ont faite un soir avec un homme Européen inconnu, une nuit dans un bar de Beyrouth. Il s'agit d'un combattant en route pour rejoindre la milice kurde qui lutte contre l'État islamique sur le territoire syrien. La conversation a été secrètement enregistrée sur un téléphone portable, et sert de scénario à des situations modélisées animées et à des reconstitutions performatives de ce soir-là. Le film est également un questionnement formel sur l'authenticité apparente du documentaire et sur les possibilités de représentation de la réalité au moyen de simulations et de situations modélisées.

Noor Abed est née en 1988 à Jérusalem (Israël). Elle est artiste interdisciplinaire et réalisatrice. Elle crée des œuvres multimédia à la frontière de la performance, du cinéma et des nouveaux médias. Sa pratique examine les notions de chorégraphie et les relations imaginaires entre les individus, créant des situations où les possibilités sociales sont à la fois répétées et exécutées. Ses recherches actuelles portent sur le concept de mythe et la forme du réalisme magique – ainsi que sur leur relation étroite avec les discours coloniaux et post-coloniaux. Mark Lotfy est né en 1981 à Alexandrie (Égypte). Il est réalisateur de films expérimentaux. Il explore la frontière entre les récits de fiction, le film documentaire et les arts médiatiques. Sa pratique interroge le quotidien, le contingent et le virtuel. Ses recherches actuelles portent sur les notions de nationalisme, de fondamentalisme, d'émotionnalisme et d'héroïsme - à travers leurs mécanismes non seulement idéologiques et performatifs, mais aussi technologiques. Il examine les structures encadrées dans lesquelles sont produites de nouvelles subjectivités aliénées.

Combining 16mm footage of a staged dance of two men, and documentary SD footage (pre –wedding celebration in Palestine), the work highlights the affinities and tensions between performativity and performance. – One of a staged choreography, the other of one culturally embodied, while the third develops through editing. The film focuses on ‘dance’ as a social construct, in a wider examination of notions of Choreography and the imaginary relationship of individuals; a model of relations that are loosely bound together by a process of modernisation, technological rationalisation and cultural contradictions. It further examines how the political unconscious can be revealed through symbolic acts, particularly practices of movement and choreography. – Mainly through the relational: intervals between movements; these acts don’t seek to prove their strength or existence. They seem to reveal their weakness and negotiate with their surroundings- touching fragility in one’s self and therefore, a sense of fragility in the social structure that is usually denied.

Noor Abed (b.1988 Jerusalem) attended the Whitney Museum Independent Study Program in New York 2015-16, and HWP Home Works Program – Ashkal Alwan in Beirut 2016- 17. She received her BA from the International Academy of Arts -Palestine, and a MFA from the California Institute of the Arts, Los Angeles. She was a resident at the Skowhegan School of Painting and Sculpture in Maine 2014. A finalist and joint third prizewinner in 2014 Young Artist Award, she has been awarded the March Project residency and commission from Sharjah Art Foundation, UAE 2016, and a residency grant at the Cité Internationale des Arts in Paris, 2018.

Inspired by the Odyssey, based on Homer`s epic poem from Greek Mythology, this work is based on the concept of myth; its position in history and relation to the present and the imaginary. This film was shot in Palestine, where Palestinians under occupation are prohibited from reaching the sea. The continuous presence of the female figure, as a representation of Penelope, unfolds the absence of the hero figure. Through the act of sewing, she is returning to a past memory simultaneously. The past is activated in the imagination, reinforcing through movement its dislocation from its original site. The work attempts to reflect a reality other than the one history offers. Here, myth could be seen as a collective dream and public imagination.

Noor Abed (1988, Jerusalem) is currently a participant at the Whitney Museum Independent Study Studio Program, NY. She holds an MFA in Photography and Media from California Institute of the Arts, Los Angeles, and a BA in Contemporary Visual Art from the International Academy of Art Palestine. Abed uses forms of performance, video/film and installation. Through her lived experience and observations of Palestinian society, Abed became particularly interested in social transformation in relation to the theory of internal colonization. Taking the personal body as a social one, she questions concepts of psychological violence, desire and forms of resistance specifically regarding its movement and occupation of the body.

Le film est basé sur la rencontre réelle que les réalisateurs ont faite un soir avec un homme Européen inconnu, une nuit dans un bar de Beyrouth. Il s'agit d'un combattant en route pour rejoindre la milice kurde qui lutte contre l'État islamique sur le territoire syrien. La conversation a été secrètement enregistrée sur un téléphone portable, et sert de scénario à des situations modélisées animées et à des reconstitutions performatives de ce soir-là. Le film est également un questionnement formel sur l'authenticité apparente du documentaire et sur les possibilités de représentation de la réalité au moyen de simulations et de situations modélisées.

Noor Abed est née en 1988 à Jérusalem (Israël). Elle est artiste interdisciplinaire et réalisatrice. Elle crée des œuvres multimédia à la frontière de la performance, du cinéma et des nouveaux médias. Sa pratique examine les notions de chorégraphie et les relations imaginaires entre les individus, créant des situations où les possibilités sociales sont à la fois répétées et exécutées. Ses recherches actuelles portent sur le concept de mythe et la forme du réalisme magique – ainsi que sur leur relation étroite avec les discours coloniaux et post-coloniaux. Mark Lotfy est né en 1981 à Alexandrie (Égypte). Il est réalisateur de films expérimentaux. Il explore la frontière entre les récits de fiction, le film documentaire et les arts médiatiques. Sa pratique interroge le quotidien, le contingent et le virtuel. Ses recherches actuelles portent sur les notions de nationalisme, de fondamentalisme, d'émotionnalisme et d'héroïsme - à travers leurs mécanismes non seulement idéologiques et performatifs, mais aussi technologiques. Il examine les structures encadrées dans lesquelles sont produites de nouvelles subjectivités aliénées.

Combining 16mm footage of a staged dance of two men, and documentary SD footage (pre –wedding celebration in Palestine), the work highlights the affinities and tensions between performativity and performance. – One of a staged choreography, the other of one culturally embodied, while the third develops through editing. The film focuses on ‘dance’ as a social construct, in a wider examination of notions of Choreography and the imaginary relationship of individuals; a model of relations that are loosely bound together by a process of modernisation, technological rationalisation and cultural contradictions. It further examines how the political unconscious can be revealed through symbolic acts, particularly practices of movement and choreography. – Mainly through the relational: intervals between movements; these acts don’t seek to prove their strength or existence. They seem to reveal their weakness and negotiate with their surroundings- touching fragility in one’s self and therefore, a sense of fragility in the social structure that is usually denied.

Noor Abed (b.1988 Jerusalem) attended the Whitney Museum Independent Study Program in New York 2015-16, and HWP Home Works Program – Ashkal Alwan in Beirut 2016- 17. She received her BA from the International Academy of Arts -Palestine, and a MFA from the California Institute of the Arts, Los Angeles. She was a resident at the Skowhegan School of Painting and Sculpture in Maine 2014. A finalist and joint third prizewinner in 2014 Young Artist Award, she has been awarded the March Project residency and commission from Sharjah Art Foundation, UAE 2016, and a residency grant at the Cité Internationale des Arts in Paris, 2018.

Inspired by the Odyssey, based on Homer`s epic poem from Greek Mythology, this work is based on the concept of myth; its position in history and relation to the present and the imaginary. This film was shot in Palestine, where Palestinians under occupation are prohibited from reaching the sea. The continuous presence of the female figure, as a representation of Penelope, unfolds the absence of the hero figure. Through the act of sewing, she is returning to a past memory simultaneously. The past is activated in the imagination, reinforcing through movement its dislocation from its original site. The work attempts to reflect a reality other than the one history offers. Here, myth could be seen as a collective dream and public imagination.

Noor Abed (1988, Jerusalem) is currently a participant at the Whitney Museum Independent Study Studio Program, NY. She holds an MFA in Photography and Media from California Institute of the Arts, Los Angeles, and a BA in Contemporary Visual Art from the International Academy of Art Palestine. Abed uses forms of performance, video/film and installation. Through her lived experience and observations of Palestinian society, Abed became particularly interested in social transformation in relation to the theory of internal colonization. Taking the personal body as a social one, she questions concepts of psychological violence, desire and forms of resistance specifically regarding its movement and occupation of the body.

Synopsis A woman is running through a deserted city. To keep running is the only way to live in these streets. She is not hasty, she is quite serene, but maybe lost. In fact we don?t know exactly the raison but the woman can only live in the city through this universal run. While she is running, we see eight group portraits inspired by the composition of Dutch XVI-XVII Century paintings, those are the ones who wait. Finally she arrives at an unexpected panorama: a beautiful canal that inspires a meditative moment in her. She jumps into the water looking for the final communion with the inner city, and magically reaches the other side of the canal.

Biographical note Maite Abella (born 1966) is a Spanish artist . Born in Lleida (Spain) in 1966, Maite Abella attended Gerrit Rietveld Academy in Amsterdam, where she received a Bachelor of Fine Arts Degree in Painting. She also attended Universitat de Belles Arts in Barcelona (Spain). She has a Bachelor of Arts Degree in Geography from the Universitat de Barcelona (Spain). In 2001 she was nominated for the Buning Brongers Award for painting and in 2003 she got The Starters stipend Dutch National Fundation for the Arts (The Netherlands). She has exhibited her paintings since 1999 regularly in The Netherlands. Since 2000 Abella makes short films and also she has developed site-speficic projects in the public space.

Three Love Songs explores the multiple ways to use and manipulate images to create juxtapositions of meanings from the mundane to the extreme. This piece examines terror and love, and how façades are played through song, specifically Iraqi songs that were commissioned by Saddam Hussein, used to glorify the regime during the decades of his rule. The installation syncs three stylized music videos (lounge, jazz and pop) that each features an archetypal western chanteuse: young, blonde, and seductive. Each video?s dramatic ?look? creates a different atmosphere but the songs dedicated to Saddam Hussein tie them together. The lyrics are sung by the performers in Arabic (Iraqi dialect) and are subtitled in English and Arabic. The singers do not know what they are singing about, but they are directed to perform (though voice and gesture) as though the songs were traditional, passionate love songs. It is this uncomfortable juxtaposition ? between the lush visual romanticism and the harsh meaning of the lyrics, between the seduction of the performer and comprehension of the viewer ? that forms the main conceptual element of this work.

Adel Abidin is a visual artist. His multi-media practice explores the complex relationships between culture, politics, and identity. Using a sharp palette of irony and humor, Abidin gravitates towards social situations dealing with elusive experiences and cultural alienation. Abidin uses his cross-cultural background to create a distinct visual language often laced with sarcasm and paradox, while maintaining his ultimately humanistic approach. Abidin was born in Baghdad in 1973 and currently lives and works in Helsinki, Finland. He has exhibited in both group and solo exhibitions including the Helsinki Museum of Contemporary Art (KIASMA), the Centre of Contemporary Art, Salamanca, the 10th Sharjah Biennale, The 17th Sydney Biennale, and the 52nd and 54th Venice Biennale. In 2010 he exhibited his well-known video installation, Three Love Songs, at Mathaf. In 2011 he presented his critically acclaimed video installation, Consumption of War. Adel`s exhibitions in 2012 included: L`institut du Monde Arabe, a major solo exhibition at Arter ? space for art in Istanbul and at Kunsthalle Winterthur, Switzerland. He has also been selected to participate in a group show in Tokyo at The Mori Art Museum In 2013, his 2006 video installation, 52 Guaranteed Affections, got selected to be part of the big celebrated anniversary group exhibition at the Mori Art Museum. Adel`s work has been part of a group exhibition at the Mead Gallery in the UK. And also exhibited at Hauser & Wirth Gallery in London. The New York Times selected his work Al-Warqaa 2013, as the main piece of Middle Eastern art during Dubai art fair. In 2014, Adel will be exhibiting at the Louisiana Museum of Modern Art in Denmark, the Contemporary Art Museum in Rome, the Louvre-Lens Museum in France and many others.

Void est un court-métrage narrant l'histoire d'un occidental qui est un religieux fanatique. Sa vie flotte entre la fantaisie et la réalité. Le film soulève des questions telles que, comment peut un homme occidental (finlandais) devenir fondamentaliste et que pourrait-il faire? Je crois que les raisons derrière le fanatisme sont différentes dépendant de la culture derrière elles. Le film discute visuellement le conflit que les gens ont avec le sens moderne de manque et de vide. Dans ce morceau, le conflit se termine par la destruction de ce vide.

Curriculum Vitae: Adel Abidin, born in Baghdad 1973 lives and works in Helsinki- Finland. Education: 2003-2005 MFA, Academy of Fine Arts- Helsinki 1996-2000 BA, Academy of Fine Arts- Baghdad 1990-1994 B.Sc. in Industrial Management, Mansour University- Baghdad Future exhibition: 2009 Kiasma (Museum of Contemporary Art)- Helsinki (Solo show) 2008 White Box Gallery- New York (Solo show) MUU Gallery- Helsinki (Solo show) WeeGee Exhibition Centre/ CARTES Centre of Art & Technology Espoo Camões Institute- Lisbon (group show) The Renaissance Society- the university of Chicago (Group show) The Mildred Lane Kemper Art Museum- St.Louis- USA (Group show) Gallery 5020- January- Salzburg (Group show) Espace Louis Vuitton- Paris (Group show) 2007 Triple Base Gallery- San Francisco (Solo show) Solo Exhibitions and events: 2006 Kluuvi Gallery- November- Helsinki Premier of a short film (VOID)- Kino Theatre- Helsinki Huuto Gallery- April- Helsinki 2004 Two Projects- Art Academy Gallery- Helsinki Oil Paintings- Kaapelitehdas Gallery- Helsinki 2002 Reflected Truth-Kaapelin Galleria- Helsinki Land, Inaa Gallery-Baghdad 2001 Under siege - Galleria Primavera- Helsinki 1999 Millennium 3-Inna art gallery- Baghdad 1990 Carbon on Paper-Alweya Club- Baghdad Selected Group Exhibitions and Festivals: 2007 Tallinna Kunstihoone- Tallinn Gemak- The Hague ? Green/ Red Zone- Netherlands Museum of Photography- September- Helsinki Gothenburg Biennial- August- Gothenburg The Rencontres internationals Berlin/ film festival Venice Biennale 52nd- Venice- Nordic Pavilion IMPAKT Festival- Utrecht- The Netherlands The Rencontres internationals Madrid/ film festival Tampere Short Film Festival 37th- Tampere- Finland 2006 MOCA- Museum of contemporary Art- Taipei The Rencontres internationals Paris/ film festival Arab film festival? Toronto 12th International Pärnu Fideo and Vilm Festival- Estonia Museum of Photography- Helsinki Fredericianum Khunsthalle?Kassel- Germany October Saloon 47- Belgrade Frieze Art Fair- London Images Festival- Toronto Saw Gallery- Ottawa 2005 Anda Art Gallery- Amman LENS POLITICA film festival-Andorra theatre- Helsinki The Rencontres internationals Paris/ film festival Luksuz film festival-Slovenia Urban Flesh and Blood-Contemporary centre- Russia & Art expo- Italy Lost in Translation workshop- Istanbul Biennial The Holden Gallery- Manchester Rantakasarmin Gallery-suomenlenna- Helsinki Tennespalatsi Art museum-Helsinki 2004 Blank Space-new contemporary space?Screening- Sydney Katakomben, international festival- ?Seller?- Berlin Finnish- Russian exhibition- Lahti As Part of London Biennial? Area 10- London 2003 Stockholm art fair-Stockholm 2002 Petit Format-Galleria Primavera- Helsinki 2001 Christmas Exhibition-art on paper- Slovenia 2000 Irak: terre oubliée- Paris 1999-1997 Many Group shows in Iraq and the Arab world Professional experience: 2007 Part of Jury- "Samaa Maata"- Video Competition Artist?s symposium ORTung- Salzburg- two weeks Residency Guest artist- Art School MAA- Helsinki Guest artist- multicultural seminar- Joensuu- Finland 2006 Guest artist- Tampereen Ammattikorkeakoulu Part of Jury- TARU-TALLI Gallery- TARU Project- Helsinki Art teacher at Kulosaaren yhteiskoulu- Helsinki 2005 Guest artist- Vantaa Ammattikorkeakoulu- Vantaa 2004 Work Shops? Kiasma/ Museum of Contemporary Art- Helsinki Awards: 2007 AVEK/ Audio Visual cultural Prize of the year 2007 2006 Artist of the month?FRAME-Finnish Fund for Art Exchange 2005 Audience award-LUKSUZ film festival-Slovenia 2002 First Prize-Contest of Young Iraqi Artists 1999 Third Prize-Contest of new Iraqi Sculpture. Grants: 2007 The Art Council of Finland- Venice Biennial FRAME- FUND for Art exchange- Venice Biennial AVEK/ Promotion for audiovisual culture- Venice Biennial Finnish Cultural Foundation / One year grant AVEK/ Promotion for audiovisual culture 2006 Finnish Cultural Foundation AVEK/ Promotion for audiovisual culture 2005 The Art Council of Finland-Travel grant Finnish cultural foundation) AVEK/ Promotion for audiovisual culture 2004 The Academy of Fine Arts 2003 The Arts Council of Finland 2002 The Arts Council of Finland Selected Reviews, Articles and TV programs: 2007 V magazine (Helsinki) Suomen kuva lehti (Helsinki) Interview Wonderland magazine (London) Teknemedia, L?arte contemporanea in Italia Spike Art Magazine (Austria) NY art magazine New York times The Guardian International Herald tribune La Monde (France) Helsingin Sanomat (Helsinki) Amo lehti (Tampere, Finland) Taide lehti (Helsinki) Talk show- International media conference (Helsinki) Helsingin Sanomat, Jan. 11th (Helsinki) 2006 Helsingin Sanomat, Feb. 20th, May 5th, Aug. 5th, Nov. 18th 2005 YLE, channal Teema Helsingin Sanomat, Sept. 25th "art-ist" contemporary art magazine`s special issue on Finnish art scene, Sureyya Evren, Istanbul, Turkey 2004 Yle TV2, Artur, Sept. 21 Helsingin Sanomat, Feb. 12, ?Musta öljy? 2003 Helsingin Sanomat, Apr. 25, ?Bagdad, Detroit, Helsinki?, Yle TV2, Artur, Apr. 7 2002 Helsingin Sanomat, Jul. 13, Exhibition Review Hufvudstadbladet, May, ?Så sant? så sant!? 2001 Hufvudstadbladet, Apr. 26, Fr_n f_rtryck till livsgl_dje Lauantaivekkari, April 28, Taide studiossa Adel Abidin Work in Collection: Kiasma- Contemporary Art Museum- Helsinki Privet Collection of: Mr. Jorge Helft- Argentina Turkish KOC Foundation- Istanbul Professional Memberships: FRAME/ Finnish Fund for Art Exchange AV-ARKKI/ Distribution Center for Finnish Media Art Muu-ry/ Media Art organization International Association of Art (IAA, AIAP) Helsinki Artists Association

La scène est familière, de celles qui sont trop souvent montrées par les médias qui couvrent la guerre en Irak : le message vidéo du "terroriste" islamiste, visage couvert, une kalashnikov dans les mains et récitant un message coranique de haine et de mort. Dans la version que construit l'auteur, le message vidéo révèle le terroriste qui se tient en face du drapeau américain peint sur le mur derrière lui. Il commence par réciter un verset du Coran, puis prend une guitare acoustique et chante "This Land is my Land" (chanson américaine patriotique).

Adel Abidin est né en 1973 à Bagdad. Il vit et travaille à Helsinki, Finlande. Education: 2005 MFA, Académie des Beaux Arts / Helsinki 2000 BA, Académie des Beaux Arts, Université de Bagdad / Bagdad 1994 B.Sc. en Management Industriel, Mansour / Université de Bagdad / Bagdad Awards: 2006 Artiste du Mois / Septembre / FRAME/ Finnish Fund for Art Echange 2005 Prix du Public, festival du film de LUKSUZ / Slovénie 2002 Premier Prix - Concours de jeunes artistes irakiens Shakir Hassan Al Sai?d Award 1999 troisième Prix - Concours de sculpture Contemporaine Irakienne. Ismail Fattah Al- Turk Award / Woman Under Sanction . Subventions: 2006 Suomen kultuurirahasto (Fondation culturelle finlandaise) / VOID AVEK / Promotion pour la culture audiovisuelle / VOID 2005 Le Conseil d´Art de Finlande / Subvention de voyage / SHEEP FOR SALE Suoamen kulltuurirahsto (Fondation culturelle finlandaise) / CRAZY DAYS AVEK / Promotion pour la culture audiovisuelle / CRAZY DAYS 2004 Amadémie des Beaux Arts / SERMON 2003 Le Conseil d´Art de Finlande / 19:25 AFTER THE WAR 2002 Le Conseil d´Art de Finlande / LAND Adhésione Professionelles : FRAME/ Finnish Fund for Art Exchange, AV-ARKKI, Distribution Center for Finnish Media Art, Muu-ry, Media Art organization, Kaapelitehdas Artists, Helsinki, International Association of Art (IAA, AIAP), Helsinki Artists Ass.

Un immigrant irakien vivant en Finlande, qui ne s'intègre que physiquement et non mentalement à la société finlandaise, se trouve conforté dans sa position en étant constamment considéré comme un exclu par les Finlandais. Le film présente un assemblage d'impressions que cet Irakien récolte alors qu'il est en Finlande. Comme un esprit invisible, il entre chez une femme finlandaise, et observe la vie de celle-ci à travers ses yeux à lui. Il marche dans les rues et la forêt, et le film visualise ses associations d'esprit : il relie les rituels finlandais avec l'Iraq. Le film regorge de solitude et de l'expérience de la distance entre les gens.

Adel Abidin est né à Baghdad 1973. Il vit et travaille à Helsinki / Finlande Formation: 2005 MFA, Academy of Fine Arts, Helsinki 2000 Licence à l'Academy of Fine Arts, Baghdad. 1994 Diplôme universitaires en Management Industriel, Mansour University College, Baghdad. Expositions personnelles : 2004 Deux projets, installations vidéo, Kuvataideakatmia Galleria Oil Paintings, an installation, Kaapelitehdas, Helsinki 2002 Reflected Truth, Kaapelin Galleria, Helsinki Land, Inaa Gallery, Baghdad 2001 Under siege, Galleria Primavera, Helsinki 1999 Millennium 3, Inna art gallery, Baghdad. 1990 Carbon on Paper, Alweya Club, Baghdad. Expositions collectives : 2005 Istanbul Biennial, Septembre, Turquie The Holden Gallery, Manchester, Octobre Royaume-Uni Rantakasarmin Gallery, suomenlenna, Juin Helsinki Tennespalatsi Art museum, Mai, Helsinki Représentation avec Alexander Nikolic, Huuto gallery 2004 Blank Space, new contemporary space, Projection, Sydney,Australie Katakomben, festival international, ?Seller?, Berlin Finnish- exposition russe, Lahti / Finlande London Biennial, UK 2003 Stockholm art fair, Stockholm Miniteos, Kaapelitehdas, Helsinki 2002 Petit Format, Galleria Primavera, Helsinki Circus, Kaapelitehdas, Helsinki Concours des jeunes artistes iraquiens - Athar Art Gallery, Baghdad 2001 Exposition de Noël, art sur papier, Slovénie Exposition d'Ete, Kaapelitehdas, Helsinki 2000 Irak: terre oubliée, Paris-France Exposition de Printemps, Inaa Art Gallery, Baghdad. Exposition de Printemps, Iraqi Arts Center. 1999 Art Day Exhibitions, Iraqi Arts Centre. Babylon Festival Exhibition, Iraqi Art center Concours de Sculpture Contemporaine, Hiwar Art Gallery, Baghdad Ecposition d'Art Contemporain Irakien, Alwan Art Gallery, Beirut 1998 Exposition de Solidarité avec le Peuple de Palestine, Inaa Art Gallery, Baghdad 1997 Exposition d'Oeuvres d'Art Contemporain Sélectionnées, Inaa Art Gallery, Baghdad Exposition d'Eté et de Printemps, Orfali Art Gallery, Baghdad Animation d'ateliers : 2004 La démocracie par la collaboration, atelier, Kiasma, February Espace public et cartographie, Helsinki, atelier, Kiasma, Décembre Récompenses : 2002 Premier Prix ? Concours des Jeunes Artistes Irakiens. Shakir Hassan Al Sai?d Award. 1999 Troisème Prix ? Concours de Suclpture Irakienne Contemporaine. Ismail Fattah Al-Turk Award Bourses : 2005 The Art Council of Finland / Bourse de travail Suoamen kulltuurirahsto (fondation culturelle finlandaise) AVEK / Promotion de la culture audiovisuelle 2004 L'Académie des Beaux-Arts 2003 The Arts Council of Finland 2002 The Arts Council of Finland Revues, Articles et émissions télévisées (sélection) : 2005 YLE, channal Teema, Crazy Days Helsingin Sanomat, 25 Septembre, Istanbul Biennial "art-ist" magazine d'art contemporain : numéro spécial sur la scène artistique Finlandaise, Sureyya Evren, Istanbul, Turquie 2004 Yle TV2, Artur, 21 Septembre, Patsy Nakil Helsingin Sanimat, 12 Février, ?Musta öljy?, Marja-Terttu Kivirinta 2003 Helsingin Sanomat, 25 Avril, ?Bagdad, Detroit, Helsinki?, Marja-Terttu Kivirinta Yle TV1, Valopilkku, 8 Mai, ?Kuvataiteilija Adel Abidin? Yle TV2, Artur, 7 Avril, Adel Abidins balansg ng bland kulturer och konst 2002 Helsingin Sanomat, 13 Juillet, Exhibition Review, Anne Rouhiainen Hufvudstadbladet, Mai, ?Ssant S_ sant!? Bianca Grasb Janvier, interview, Iraqi Satellite Channel 2001 Jordan Times article, Juin. Hufvudstadbladet, 26 Avril, Fr_n f_rtryck till livsgl_dje, Dan Sundell Lauantaivekkari, 28 Avril, Taide studiossa Adel Abidin Adhésions Professionnelles : AV-ARKKI, Distribution Center for Finnish Media Art Muu-ry, Media Art organization International Association of Art (IAA, AIAP) Finnish Painters Union (TML) ? ?kokelas? Helsinki Artists Association Kaapelitehdas Artists, Helsinki Iraqi Artists Association Iraqi Plastic Artists Union

“Michael” A video Installation Adel Abidin2014-2015 Introduction and statement: The pop culture’s influence on our contemporary world results in a life that is built of obsession with fame, youth and wealth. Celebrities like Hollywood actors or renowned pop singers are put on to a pedestal as our modern day messiahs. They do take active roles in our daily life, leading positions in the most effective organizations around the globe. Actors make a living bypretending and subsequently creating our children’s (and even ours) potential role models;as musicians do by composing a masterpiece that we meditate with. And at the end of the day, both the actors and the musicians, with the help of the mediatic elements of our popular culture, become more influential than the actual prophets themselves, even some of them end up having more followers than any other prophets. In the video, ”Michael”–as still being one of the universally celebrated icons of our time- is being interviewed after his resurrection. The answers he gives and the speech he makes is nothing but a compilation of his all time well-known songs’ lyrics. Therefore I am resurrecting him from the dead as a prophetic figure that unveils the universal truths about the world we live in. This false prophet is thrown on a television talk show, the ultimate pop culture altar. Due to the delicate nature of the interview and a characteristic plea for privacy, even in his afterlife, “Michael” has only agreed to do a private interview in a pseudo-talk show. Still, thousands of fans from around the world have gathered to view this ‘live’ broadcast on big screens in public spaces as in Times Square. Michael’s fansare there to have their questions answered by their hero live. “It has been a day almost of a religious anticipation,” states the reporter in Times Square. People gathered to witness the most historical moment of all times. Questionsrevolve around existential topics ofmysteries of death, afterlife and immortality. At the studio of “The 1-Show” in Manhattan, “Michael” sits opposite of“Mr. Paul Burke”, the host of the famous TV show. He is expectedto enlighten the crowds and make a confession of whatever he might be confessing right in front of the cameras and lights, while his fans are enduring the pain of their insatiable curiosity. The work goes beyond the limits by trying to convert the star into a fortune-teller, someone to interpret our future, and givetips to world leaders, prevent climate changes and advice on how to make a better world. The production and construction of Resurrection represents not only our innocence and our blind belief in prophetic symbols created by the elements of pop culture, but also our violent responses to such figures. Even after the death of such figures, we continue to follow them with an ill desire. Narrative style - ‘The 1-Show’ A lot of today’s popular culture has evolved around the mass media and it has created a strong link of dependency with ‘superstar’ celebrities. And although television is losing its’ leading exclusive role when compared to the use of the internet, it is still the only media that can gather hundreds and thousands of people in one place to follow unique, once in a lifetime live broadcasts such as Michael’s. Within this frame, the installation follows a format, imagery and a narration of an American talk show. Despite the supernatural feature of the interview, the footage presented in the installation is made to be completely realistic. This also applies to the appearance of ‘Michael’, the reactions of the crowds, the emotional yet professional mannerisms of the talk show host and the reporter in Times Square location. Additionally, the camera work mimics a one-to-one television talk show style, even including the raw documentary style of live footage from variouscities, which are brought to us by news anchors from all around in many different languages. Narrative elements: Live video within the installation consists of two main assets, 1) The studio interview with “Michael”. 2) Live coverage of people’s reactions from around the globe. Edits between the main assets as the interview progresses. The main narrative elements are: • Opening title sequence of the talk show
 • Introduction of the unique nature of ‘tonight’s show’ by the talk show host; “Mr. Paul Burke” including live links to our reporter “Mary”standing by the main selected spot“Times-square” in New York. • Introduction and entrée of the star guest “Michael” by the talk show host • Wide shots of big crowds gathered to watch the broadcast
 • Reactions from fans via live links
 • Questions posed to “Michael” by the talk show host
 • Questions posed to “Michael”by fans via live streaming channels and links
 • “Michael’s” response to the questions posed (quoting his own lyrics)
 • Final statement and farewell by “Michael”
 • Closing speech by the talk show host
 • Title sequence of the talk show

Adel Abidin was born in Baghdad in 1973, He did move to Helsinki in 2001 and lives there since then, Abidin joined the Finnish Art Academy in 2003 in order to do his Mater degree in fine Arts. during that time he switch his practice from full time painter to multimedia based practice, and since 2004 he started his career as a video and installation based artist. Abidin’s art uses various media such as videos, video installations, multi media sculptures and sound based installations and photography to explore the issues of the contemporary world that we are living in. His main point of departure is always linked to the intention to explore the complex relationship between visual art and politics & identity. Using a sharp palette of irony and humour always gravitated towards different social situations dealing with elusive experiences and cultural alienation. He uses his cross-cultural background (as an Iraqi artist living in Helsinki) to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach. This sarcasm used is nothing but a medium of provocation to serve the purpose of extending the mental borders of the artwork beyond the limits of the exhibition space. Always interested in creating opportunities to prolong the discussions beyond artwork by enabling the audience to convey mental elements from the work into their daily life. Moreover, he always finds the words ‘politics’ and ‘identity’ more than a terminology or a path that we travel in, as they unfold to other concepts like discrimination, mass media manipulation etc. Abidin presented his work at many Biennales such as: The 5th Guangzhou Triennial (2015); The 56th Venice Biennale- Iran Pavilion (2015); the Glasstress-The 56th International Art Exhibition– Venice Biennale (2015); Biennale of Contemporary Art of Bosnia (2013); 54th Venice Biennale- Iraq Pavilion (2011); 10th Sharjah Biennial (2011), 17th Biennale of Sydney (2010); 11th Cairo Biennale (2008); 4th Gothenburg Biennale (2007); 52nd Venice Biennale- Nordic Pavilion (2007); (Student workshop participation) 5th Istanbul Biennale (2005). Other participations such as: The Pera Museum, Istanbul; Aga Khan Museum, Toronto, Canada; Rapid Pulse International Performance Art Festival, Chicago, USA; Gwangju Museum of Art, South Korea; National Gallery of Victoria, Melbourne, Australia; The New Museum, New York, USA; MACRO-Museum, Rome, Louisiana Museum; Copenhagen, Station Museum, Houston; The Jerusalem show VII, Jerusalem; Hauser & Wirth Gallery, London; Mori Art Museum, Tokyo; Singapore Art Museum; Museum of Anthropology, Vancouver; Mead Gallery, UK; Palais de Tokyo; Arab World Institute, Paris; MOCCA, Toronto; Arts-Talks and Sensations, Abu Dhabi; MATHAF- Doha; Espace at Louis Vuitton. His solo exhibitions include: Lawrie Shabibi, Dubai, UAE (2015); Cover-Up!, Al Sultan Gallery, Kuwait (2015); Maraya Art Centre, Sharjah (2013), Lawrie Shabibi Gallery, Dubai (2013), ARTER- Space for Art, Istanbul (2012), Darat Al-Funun, Amman (2011), DA2- Centre of Contemporary Art in Salamanca, Spain (2010 ), KIASMA- Museum of Contemporary Art, Helsinki (2010), Association media Art gallery, Helsinki (2014). Abidin has received The Finland Prize for Visual Arts in (2015), Five Years Grant from The Art Council of Finland in (2013); Ars Fennica Prize Nominee 2011. Abidin has invited to be a visiting lecturer at many schools of Arts such as: College of Liberal Arts, Oregon State Uni. Portland, Oregon, USA (2010); The Art Academy of Helsinki (Kuva), (2015), LASALLE College of Arts, Singapore (2016); CalArts, California Institute of Arts, CA, USA (2016).

When I immigrated to Finland, I started facing a deep shock regarding the differences between the two cultures. Finding myself on the border between the two helped my practice but distracting for my selfdom, affecting my decisions and creating a fertile ground for confusion and turmoil. When the world slowed down during the pandemic, I decided to turn my lens and start investigating my identity and perspective. I exposed myself to all the possible ways to understand what had indeed gone wrong in the process of figuring out a third self that came to be me. Music was the best path to pursue this exploration, and I made six music videos where I sang and acted as the protagonist. Intermixed from many different songs, where many viewers will recall, the lyrics resonate with the contemplation of my meanings in my life. I work with the themes of identity, power, fear, clichés, slippages, and uncertainties in language by manipulating well-known pop song lyrics once used to express love, hope, and dreams. The rearrangement of these lyrics illustrates a harsh yet honest tool that represents what we hide or are afraid of making known.

Adel Abidin was born in Baghdad (1973) and currently resides between Helsinki and Amman. He received a B.A. in painting from the Academy of Fine Arts in Baghdad (2000) and an M.F.A from the Academy of Fine Arts in Time and Space Art in Helsinki (2005). Since his representation of Finland at the Nordic Pavilion in the 52nd Venice Biennale (2007), his work has been the subject of major exhibitions worldwide including: Van- haerents Art Collection, Brussels (2015), 56th Venice Biennale in the Iranian Pavilion (2015), The Glasstress-Goti- ka, 56th Venice Biennale, International Exhibition, Palazzo Franchetti (2015), 5th Guangzhou Triennial, The Guang- dong Museum of Art, Guangzhou (2015), The Pera Museum, Istanbul (2015), Aga Khan Museum, Toronto, Canada (2015), Gwangju Museum of Art, South Korea (2014), The Jerusa- lem Show VII, Jerusalem (2014), Louisiana Museum of Modern Art, Denmark (2014), MACRO-Museum of Contempo- rary Art, Rome (2014), Mori Art Museum, Tokyo, Japan (2013-2012), 54th Venice Biennale, Iraq Pavilion (2011), 10th Sharjah Biennale, UAE (2011), MOCCA, Toronto (2011), Mathaf: Arab Museum of Modern Art, Doha, Qatar (2010), 17th Biennale of Sydney, Sydney (2010), MAP, Mobile Art Production, Stockholm, Sweden (2009), 11th Cairo Bienni- al, Cairo (2008), Screening at MoMA, Museum of Modern Art, New York (2008), Art Paris, Grand Palais, Paris (2008), Espace Galley of Contemporary Art, Louis Vuitton, Paris (2008), The Mildred Lane Kemper Art Museum, St. Louis, USA (2008) and The 4th Gothenburg Biennale, Sweden (2007). He has been represented in galleries including: Hauser & Wirth Gallery, London (2013), with his well-recognized three channel video installation "Three Love Songs", Lawrie Shabibi Gallery, Dubai (2013), with his suspended light based installation "Al-Warqaa" (Chosen as the image of the rising Arab art scene in Dubai by the New York Times), Anne De Villepoix Gallery, Paris (2011), with his six channel video installation "Their Dreams" and Zilberman Gallery, Istanbul (2011), with his well received video installation "Ping-Pong". Abidin's work continues to be well represented in both Private and public collections including those of the KIASMA- Musuem of Contemporary Art, The National Gal- lery, Helsinki: The National Gallery of Victoria, Mel- bourne, Australia: The Sharjah Art Foundation, UAE: Mathaf- Arab Museum of Modern Art, Doha, Qatar: EMMA- Espoo Museum of Modern Art, Espoo, Finland: Nadour Private Collection: Kamel Lazaar Collection: The Barjeel Art Foundation, UAE: The Heino Art Foundation, Helsinki: Darat al Funun - The Khalid Shoman Foundation, Amman: HH Sheikh Zayed bin Sultan bin Khalifa Al Nahyan, UAE: KOC foundation. Abidin has been selected for the Finland Prize for Arts in 2015, Received a Five Years Grant from The Art Council of Finland (2012-2017) and in 2011 He was a nominee for the Ars Fennica Prize in Finland. In (2015) the Artist has taught, gave talks and panel discus- sions, at various venues including the UNESCO- Improving Artistic Freedom In a Digital Age, Helsinki (2016), the Acade- my of Fine Arts in Helsinki: Lasalle- College of the Arts: TAIK- Alto University, Helsinki (2014), The Museum of Anthropology, Vancouver (2013), The Mosaic Rooms, Global Futures Forum, London (2013), Darat al Funun - The Khalid Shoman Foundation, Amman (2011), OSU- Oregon State University, USA (2010). Location One Gallery, New York (2010), The Academy of Arts, Baghdad (2001). Abidin has been a Subject in Art documentary about his art Practice in many Tv channels including BBC- culture channel, England (2011) and ARTE- cultural channel, France (2008). also his work was mentioned in major newspapers and magazines around the world including (The NewYork Times- 2011 & 2013), Le Monde, Le Figaro, the National in Dubai, Helsingin Sanomat, the Wallpaper magazine, The Wall Street Journal, Canvas Art Magazine, Art Forum, Art in America, Avek Media Art Magazine, Taide Lehti, ArtAsiaPacific…Etc

2 repas de famille. 10 ans d?intervalle. 500 km de distance. Entre les deux : la fuite?

Née en 1973 à Nancy, elle fait ses études à la FEMIS, où elle réalise trois courts-métrages de fiction : Violette, sélectionné par pointligneplan pour une projection organisée par le GREC et la DNAP, Réminiscence, sélectionné aux festivals d?Istanbul et de Stuttgart, et Kassel (Sans titre, 2002) diffusé sur ARTE. Puis elle a tourné un documentaire pour l?inscription de la ville du Havre au Patrimoine Mondial (Unesco 2005) et deux courtes fictions, Lettre à ma s?ur et Ta main blanche, projetées dans le cadre du festival Pocket Films (Forum des images / Centre Pompidou, Paris, 2006).

L'idée de ce film, tourné entre 2015 et 2016 sur deux îles des Açores, Pico et Faial, est apparue par accident. En revenant sur les images de repérage pour un précédent projet annulé des années auparavant, un autre film s’est révélé. Le pouvoir de la nature et le rôle du hasard dans le processus de création produisent un récit sur l'amitié, le cinéma et l'influence de l'inattendu dans la création artistique.

Paulo Abreu est d’origine portugaise. Réalisateur et directeur de la photographie, il a réalisé aussi bien des films de fiction que des documentaires. Il a remporté plusieurs prix lors de festivals de cinéma. Il a fait ses débuts en tant que réalisateur freelance, avec des films pour la danse, la musique et le théâtre. Caméraman et/ou directeur de la photographie dans un grand nombre de clips musicaux, de documentaires, de films courts et de longs métrages. Vidéaste dans diverses expositions d'art. Réalisateur de films expérimentaux en Super 8 et vidéo, distribués par Lightcone, Paris (France). Lauréat dans plusieurs festivals.

"Asleep" is an experimental and poetic documentary , shot in Super 8, about the Capelinhos volcano in the Azorean island of Faial . Also included is some footage of the successive eruptions during 1957 and 1958.

Born in Lisbon 1964 Film/video Arts NYC 1991 Cinematographer and cameraman in several art projects and short films Director of several experimental shorts shot in Super 8

Une machine est préparée avec un ensemble de mécaniques sophistiquées pour une analyse comportementaliste d?un animal. Les réactions de rejet de cet animal sont traduites en émissions sonores robotiques, dans une recherche constante pour un moyen de communication. Depuis que cette communication fut brisée, les deux espèces on finit par perdre le contrôle de leurs propres mouvements dans un mélange de curiosité et de panique. La machine, programmée de manière à ce qu?elle n?abandonne pas, envoie sans cesse ces ondes audios et ces flahs qui vont continuer à fatiguer la bête, ce qui pourrait être l?argument gagnant.

Isabel Abreu est née à Oporto, Portugal en 1976. Diplomée de l'Ecole d'Art de l'université catholique de Oporto (UCP) en Arts numériques, images et sons, en 2002 . En ce moment, elle travaille en tant que professeur dans l?audiovisuel et collabore à des projets d?images et de son numérique. Rita Barbosa est née à Oporto, au Portugal en 1979. Elle est diplômé en Arts numériques, images et sons (un diplôme de 5 ans) de L'Ecole d'Art de l'Université Catholique de Oporto au Portugal (UCP) en 2002.En ce moment, elle travaille en tant que professeur dans l?audiovisuel et collabore à des projets de design et de multimédia à Oporto.

"THE BABYLON ARCHIVES : The Dark Side of the Empire, POST 0911" (25 minutes), est une compilation vidéo d'Abu Ali & retroyou produite par les OVNI Archives. 1999-2003. Des rencontres oubliées dans le passé, les premiers mots après l'événement. Célébration à l'huile et pellicule inconnue. "THE BABYLON ARCHIVES : The War Room" (40 minutes), est une compilation vidéo d'Abu Ali & retroyou produite par les OVNI Archives. 2005. Quand le divertissement devient entrainement. Les limites invisibles du jeu à venir, de la victoire finale.

Le Cinéma Zahran, au c?ur d?Amman, projette des films porno depuis trente-sept ans. Le réalisateur va y voir un film porno, et découvre le milieu sexuel arabe pour les hommes. Dans ce cinéma, on voit et entend plus qu?un film porno.

Abu Saed Hmud est né en 1976 à Bethléem (Palestine). Il a étudié la réalisation TV et la production audiovisuelle à l?Université Technique de Palestine. Après avoir obtenu son diplôme en 1999, il a travaillé comme caméraman et producteur, avec de nombreuses sociétés de diffusion et de production. Il a participé à la réalisation de nombreux films et ateliers d'écriture de scripts, ainsi qu?à des cours de formation organisés par le Euromed Audiovisuel Project 2, le Sundance Film Institute et la Script Factory. Son premier film documentaire « Nativity Church » (28 minutes) a été produit en 1999. En 2005, il a réalisé « Second Halftime » (21 minutes), dont la première a eu lieu au Festival de Film International Visions du Réel de Nyon (France) et qui a été sélectionné officiellement dans beaucoup d'autres grands festivals de cinéma du monde entier. En 2006, il est entré au centre télévisuel de la BBC de Londres pour une bourse d'études de trois mois, en tant que cameraman et producteur de l'émission « News Night ». Il a réalisé deux courts documentaires en Jordanie, en collaboration avec le Projet Audiovisuel Palestinien et la Commission Cinématographique Royale de Jordanie (« Distorsion », 4 minutes et « Offside », 13 minutes).