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En 2022, une importante cyberattaque russe a isolé les îles norvégiennes de Bjørnøya et de Hopen du reste du monde. On Air retrace la manière dont un petit groupe de radioamateurs norvégiens est intervenu pour rétablir le contact, révélant le rôle essentiel des technologies analogiques dans une société numérique de plus en plus fragile. Observé à travers les yeux curieux d’anthropologues extraterrestres, le film explore comment le code Morse et les signaux radio pourraient, un jour, devenir les gardiens de notre monde hyperconnecté.

Astrid Ardagh est une artiste et cinéaste originaire d’Engeløya, dans le nord de la Norvège. Diplômée en images en mouvement de la Gerrit Rietveld Academy à Amsterdam, elle développe des œuvres in situ qui explorent les interconnexions entre les êtres humains et leur environnement dans un monde en mutation rapide. En mêlant son intérêt pour l’anthropologie à une mise en récit esthétique, elle crée des films immersifs et sensoriels qui dépassent les perspectives traditionnellement anthropocentrées. Les courts-métrages d’Ardagh ont été présentés dans des festivals renommés tels que Clermont-Ferrand et le Kortfilmfestivalen de Grimstad, ainsi que dans des galeries et musées d’art tels que Kristiansand Kunsthall, l’Eye Filmmuseum et le Stedelijk Museum d’Amsterdam.

Une sélection de joyeux actes de rébellion tirés du catalogue de distribution d?Argos par Anke Buxmann et Maria Palacios Cruz. Lorsqu?on leur a demandé d?élaborer un programme de projection à l?occasion des premières Rencontres Internationales Paris/Berlin à se tenir à Madrid, au Circulo de Bellas Artes, Argos a décidé d?emprunter de titre du film de Joëlle de la Casinière de 1973, ?So Happy? dans lequel de la Casinière se promène pieds nus dans un environnement métropolitain abandonné et ravagé pour promouvoir son livre Absolument nécessaire dans les rues de New York. Rien n?est vrai, tout s?en va. Sa joie, sa liberté et son engagement social se retrouvent dans les trois vidéos qu?Argos présentera à Madrid. Les ?uvres qui ont été sélectionnées, de Charley Case, Sarah Vanagt et Joëlle de la Casinière elle-même, sont toutes trois de joyeux actes de rébellion ayant la rue comme arrière-plan commun. Les vidéos de ce programme s?avèrent d?une grande sensibilité en ce qui concerne le débat politique et social et elles militent pour la liberté d?expression et de mouvement d?une manière quelque peu naïve mais tout à fait joyeuse.

Argos (www.argosarts.org) est un centre pour l?art et les media basé à Bruxelles fondé en 1989. Au fil des ans, l?organisation s?est développée, au départ elle distribuait des vidéos et des films d?artistes puis elle s?est transformée en centre artistique avec des fonctions plus variées comme l?organisation d?expositions, de projections et d?événements, la production, le conservation et la préservation, la publication et le développement d?une médiathèque publique. En tant que centre interdisciplinaire pour l?art et les media audiovisuels, le but d?Argos est de créer une plateforme de production, de présentation, de distribution et de préservation de l?art audiovisuel et de l?art visuel contemporain belge et international, et de façon plus générale, toutes les formes d?expression artistiques qui ont un lien avec les media audiovisuels. Dans un paysage socioculturel qui évolue rapidement, Argos veut suivre les développements caractéristiques de l?art visuel et de l?art audiovisuel ? et de la culture visuelle et médiatique en tant que phénomène social dans son ensemble ? de manière critique, fournissant ainsi au public un cadre de référence et d?interprétation.

What do monuments want, do, and stand for in our memories and public spaces? Levitate, a new film by Colombian artist Iván Argote, questions the histories, functions and possible futures of colonial icons that still today define the identity of modern European cities. In what the artist calls three anticipatory actions, organized as grand-scale performances in the centers of Rome, Madrid, and Paris, we are confronted with three emblems of control and domination that still exert, undisturbed, their symbolic power from atop their pedestals. The Flaminian obelisk in the Piazza del Popolo, which came to Rome at the behest of Emperor Agustus in 10 B.C.; the statue of Christopher Columbus erected to commemorate the day of the "discovery" of the Americas; and the statue of French military officer and colonial administrator Joseph Gallieni, are suspended, displaced from their position as vertical markers of power and tools for propaganda. Their disruption, albeit ephemeral, immediately opens up a space of public discussion.

Iván Argote is a Colombian artist and film director based in Paris. Through his sculptures, installations, films and interventions, he questions our Relation with others, with power structures and belief systems. He develops strategies based on tenderness, affect and humor through which he generates critical approaches to dominant historical narratives. In his interventions on monuments, large-scale ephemeral and permanent public artworks, Iván Argote proposes new symbolic and political uses of public space. Iván Argote studied graphic design, photography and new media at the Universidad Nacional de Colombia in Bogotá and holds an mfa from the Ecole Nationale Supérieure des Beaux-art (Ensba) in Paris. His work has been the subject of solo exhibitions at Albarrán Bourdais Gallery (Madrid, 2022), Dortmunder Kunstverein (Dortmund, 2021), Perrotin Gallery (New York, 2021 & Paris, 2018), Artpace (San Antonio, TX, 2021), Asu Museum (Phoenix, 2019), Malba (Buenos Aires, 2018), Museo Universitario Del Chopo (Mexico City, 2017), Galeria Vermelho (Sao Paulo, 2017), Palais De Tokyo (Paris, 2013) and Ca2m (Madrid, 2012). Works by the artist are included in the permanent collections of numerous prestigious institutions worldwide, including the Guggenheim Museum (New York, Us); Centre Pompidou (Paris, France); Asu Art Museum (Phoenix, Us); Cisneros Fontanals Art Foundation (Miami, Us); Colección De Arte Del Banco De La República (Bogotá, Colombia); Kadist (San Francisco, Us); Macba (Barcelona, Spain).

Cette vidéo a été tournée à Barcelone, près du rond point de Christophe Colomb, à coté du port. Pendant la nuit, Ivan Argote a "enflammé" à l`aide d`une bouteille d`absinthe et du feu une statue représentant un évêque indiquant la voie à un indigène. Cette statue, qui fait environ trois mètres d`hauteur, reste presque invisible parmi tous les monuments touristiques de Barcelone. Ivan Argote l`a découverte et, avec une intervention à forte puissance symbolique affirme son idée en désaccord à avec la vision européenne de l`histoire de la colonisation, qui voit le colon comme une sorte de héros.

Ivan Argote is Colombian artist who lives and works in Paris, Argote (31) deals with the way that man relates with the myriad changes that take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and emotions in the construction of his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of films and installations, the artist explores the city as a space of transformation. His works has been shown in several cities all around the world, including: Intersections, Cisneros Fountanals Foundation, Miami, 2015; Between the Pessimism of the Intellect and the Optimism of the Will, 5th Thessaloniki Biennale, Thessaloniki, 2015; Levitate, Museum Quartier, Vienna, 2015; L’éloge de l’heure, MUDAC, Lausanne, 2015; Reddish Blue (solo), DT Project, Brussels, 2014; Let’s write a history of hopes (solo), Galeria Vermelho, Sao Paulo, 2014; Strengthlessness(solo), Galerie Perrotin, Paris, 2014; La Estrategia (solo), Palais de Tokyo, Paris (2013); Un millon de amigos (solo), Galeria ADN, Barcelona (2013); Tectonic, Moving Museum, Dubai (2013); Los irrespetuosos, Museo Carrilo Gil, México DF (2013); 30th Sao Paulo Biennial, Sao Paulo (2012); Sin heroísmos, por favor (solo), CA2M, Madrid (2012); Girarse, Joan Miró Fundation, Barcelona (2012), among others.

Reddishblue Memories by Iván Argote, uses the artist’s affective memories as part of an ongoing project of research and speculation based on a rumor associated with the history of George Eastman’s Kodak company, and its switch from Kodachrome to Ektachrome. This was allegedly done for ideological reasons : in the late 1960’s they realized that Kodachrome pictures turned reddish with time, and in the context of Cold War decided that the United States’ archives could not end up with the enemy’s color, and so developed the Ektachrome process, in which pictures eventually turn blue. The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

Iván Argote (Bogotá, 1983, lives in Paris) works explore the relationship in between history, politics and the construction of our own subjectivities. His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone.

Que nous dirait La Seine si elle pouvait nous parler ? Se souvient-elle de tout ce dont nous avons rêvé, imaginé et dit à son sujet ? De ses passages lumineux, de ses recoins sombres ? De tous les secrets déposés ? Des mots d’amour ? Des chagrins ? Le Fond de la Seine nous parle à la première personne, nous dévoilant un portrait poétique d’un fleuve chargé de vie, de luminosité, d’histoires et d’espaces sombres. Ce portrait réalisé grâce à des images subaquatiques et des images de paysages, narré par une voix puissante et accompagné d’une bande son émouvante, se construit au fur et à mesure du film. Depuis sa source timide, origine de nombreux mythes paléolithiques, en passant par des recoins doux et cristallins qui lentement deviennent une puissante masse d’eaux, route industrielle, passage urbain et de pouvoir qui finit par se déverser dans l’océan en fusionnant cœur et âme avec toutes les masses d’eau sur terre. Le Fond de la Seine nous parle d’une façon sensible, des sentiments et fantasmes que nous projetons envers ce fleuve que nous connaissons si bien et qui pourtant nous cache tant de choses.

Iván Argote, Bogotá 1983, vit à Paris. Iván Argote est un artiste et réalisateur colombien basé à Paris. À travers ses sculptures, installations, films et interventions, il questionne notre relation aux autres, aux structures de pouvoir et aux systèmes de croyance. Il développe des stratégies basées sur la tendresse, l'affect et l'humour à travers lesquelles il génère des approches critiques des récits historiques dominants. Dans ses interventions sur des monuments, ses œuvres d'art public éphémères et permanentes à grande échelle, Iván Argote propose de nouvelles utilisations symboliques et politiques de l'espace public. Iván Argote a étudié le graphisme, la photographie et les nouveaux médias à l'Universidad Nacional de Colombia à Bogotá et est titulaire d'un MFA de l'École Nationale Supérieure des Beaux-Art (ENSBA) à Paris. Ses expositions personnelles comprennent : 'TO MOVE AND BE MOVED', KØS Museum, Copenhagen, DK (2024) ; 'The Burden of the Invisible', SCAD MOA, Savannah, GE (2024) ; 'Prémonitions', Perrotin, Paris, FR (2022) ; ‘Aliens en Madrid’,galerie Albarrán Bourdais, Madrid, ES (2022) ; ’Chaflierplatz’, Dortmunder Kunstverein, DE (2021) ; 'A Place for Us', Perrotin, New York, US, (2021) ; 'All Here Together', Artpace, San Antonio, TX, US, (2021) ; 'Juntos Together', ASU Museum, Phoenix, USA (2019) ; 'Radical Tenderness', MALBA, Buenos Aires (2018) ; 'Somos Tiernos', Museo Universitario del Chopo, Mexique (2017) ; 'Somos', Galeria Vermelho, Sao Paulo (2017) ; 'La Venganza del Amor', Perrotin, New York (2017) ; 'Let's write a history of hopes', Galeria Vermelho, Sao Paulo, BR (2014) ; 'La Estrategia', Palais de Tokyo, Paris (2013) ; Sin heroísmos, por favor', CA2M, Madrid, (2012) . Les œuvres de l'artiste font partie des collections permanentes de nombreuses institutions prestigieuses dans le monde entier, notamment le Guggenheim Museum (New York, États-Unis) ; le Centre Pompidou (Paris, France) ; l'ASU Art Museum (Phoenix, États-Unis) ; la Cisneros Fontanals Art Foundation (Miami, États-Unis) ; la Colección de Arte del Banco de la República (Bogotá, Colombie) ; Kadist (San Francisco, États-Unis) ; le MACBA (Barcelone, Espagne).

Wild Filly Story is starring a pack of adolescent girls on a therapy horse stable in the outskirts of Amsterdam. The casts are regular visitors, who are simply there to ride, who are there for occupational therapy, or there as a temporary replacement from school. Playing out a fictional, yet custom-fit script that prompts questions of friendship, misfit, normativity, fetishization, and female empowerment. The young girls method-act through stages of agitation, thriving on the artist’s own rural childhood trauma in Sweden, a horsegirl´s obsessions, and her recent short-lived career as a porn film director: teens pulling hair, grand stallions being objectified, food fights, horse healing, and in the backyard of the barn a kissing scene is being made. A red thread through the film: a young girl’s horse is taken away to be slaughtered that the horse community later feast on. A ghost—an EMO teen, white-painted, unfitted, potentially dead—grimes her way through a hardcore song from the London underground “Drop Dead” with the gang of horse girls as her backing choir. Meanwhile, a cowgirl talking about a stallion having its balls cut off, giggling through her characterization of its masculine rage being tamed.

Josefin Arnell (1984) has recently presented exhibitions, screenings, and performances at Athens Biennale; Wiels, Brussels; UKS, Oslo; Van Abbemuseum, Eindhoven; Moscow International Biennale for Young Art; Auto Italia, London; Kunsthalle Münster; Beursschouwburg, Brussel. In 2018 she won the Theodora Niemeijer Prijs; a national art prize for emerging female artists living or working in the Netherlands. Arnell lives and works in Amsterdam Through combining modes of autobiographical and fictional storytelling, she explores representations of femininity, the aesthetics and politics of violence, and the way expressions of power and control manifest in group dynamics. The Teenage Girl, The Horse, and The Mother are recurring characters placed beside clumsy allegories of conflicted human conditions or environmental catastrophe. These characters have endless monologues rather than conversations while navigating contemporary infrastructures with impossible demands. She uses humor and absurdity as political devices, but also as important tools to access moments of emotional catharsis. Trashy performativity, camp aesthetics, the grotesque, and soap opera affects are set in combination of documentary, scripted, and improvisation methods. Additionally to her solo work she is involved in multiple collaborations and self initiatives. Most noticeably the artist duo: HellFun aka Josefin Arnell & Max Göran. HellFun prefers to be brave and pathetic rather than drowning in shame.

Welcome to the age of cosmic radiation! In 2021 the Sun fell to its lowest point of activity since the birth of science. Its magnetic waves that once shield the Earth dramatically weakened. During this solar lull powerful intergalactic cosmic rays penetrated our atmosphere. Originating eons ago from the explosive remnants of dead stars these silent, invisible and highly charged particles were only noticed in their affect - in what they did to our bodies and to the technologies we thought we could rely upon. Compiling stories from the recent past of interaction with cosmic radiation at ever descending altitudes, “The Phantom Menace” is a techno driven stroboscopic climate fiction film written in conversation with various Amazon warehouse workers. Initially inspired by the proposed plans for the U.S government to install their fragile predictive supercomputers deep underground in order to protect them from these upcoming ancient alien invaders, the film uses once costly low-resolution scientific visualizations produced on these supercomputers to speculate on the role of image labour in the subterranean near future. Planes crashing, computers malfunctioning and elections going haywire - these were just the prequel to the future.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker & curator living in London, raised in Cheshire, UK. Producing sensory essay films from found often viscerally embodied networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the material distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University and recently completed a film with FLAMIN.

Equal parts systems literacy and kaleidoscopic ecological fantasia, “Pervading Animal” is a film about butterflies, computer viruses and all the things they touch. Tracing the creation, spread and destructive legacy of the first ransomware computer virus the film finds in its wake surprising connections between the US invasion of Panama, the aesthetics of pioneering computational art and the construction of a butterfly conservatory in New York.

Graeme Arnfield (b. 1991, UK) is an artist filmmaker and composer living in London, raised in Cheshire, UK. Producing sensory essay films from networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on e-flux & Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.

My mother dreamed that my late father came back home to see her. She strongly believes that It wasn`t dream.

Phuttiphong AROONPHENG was born in Bangkok in 1976. He obtained a B.F.A at Silpakorn University and also studied at The Digital Film Academy of New York. He is particularly interested in avant-garde and experimental film. In 2007, his film project ?We all know each other?, an experiment documentary film in collective storytelling, which utilises investigation and dialogue about the nature of film as a medium, was supported by Fukuoka Asian Art museum and Irish Museum of Modern Art. And also his short film ?Our monument? won Vichitmatra Award at the 12th Thai Short Film and video Festival. Phuttiphong?s films have been showed both international film festivals and art exhibitions, including the International Film Festival Rotterdam 2009, Ybor the moving images festival USA, International Short Film Festival Hamburg, Interfilm Berlin Germany, 25Fps Croatia, Singapore International Short Film Festival, Asian gallery 4A Sydney, Escape Art gallery England, Silverlens gallery Philippines and many others. In 2009, He also was selected as a fellow of Asian Film Academy organized by Pusan International Film Festival and was one of an Asian Public Intellectuals fellows by the Nippon Foundation. As a Filmmaker, Phuttiphong has practice and skill in many different levels of the storytelling process, from narrative to experimental to documentary filmmaking. He had worked, as a cinematographer, together with well-known director?s films such as Nick Deocampo and Kongkiat Khomsiri. Recently, his new film project ?Departure Day? has been supported by Office of Contemporary Art and Culture, Ministry of Culture of Thailand and also won award for the script development in the Asian Cinema Funds (ACF), Pusan South Korea.

Disappearance in Three Acts | Act One is an ethnography of violence reflecting on a history of conflict in Central Mexico. The video piece posits a decolonial approach to the visual representation of violence in Mexico, transporting us beyond the realm of suffering into a space for quiet contemplation as the violent terrain of occupation enters the frame. Following the pictorial European Romantic landscape tradition with its depiction of the uncontrollable power of nature, this piece is an investigation on enforced disappearance in rural Mexico, reclaiming undermined histories of everyday violence and economic struggle. The video piece appropriates visual motifs from 18th century European Romantic landscape tradition with its depiction of the uncontrollable power of nature and cataclysmic extremes, echoing violent occupation of land in rural Mexico. Through a poignant testimony of a kidnapping survivor, intertwined with the pastoral rural landscapes of her captivity, the video documents geographies of disappearance at the threshold of detectability.

Victor Arroyo is a video artist working in the crossfield between cinema and contemporary art. His films are informed by various modes of listening and seeing, emerging from long periods of observation and documentation. His practice is situated at the intersection between aesthetics, knowledge production and community-based research, often concerned with the encounters and tensions between lived experiences, knowledge regimes and the politics of display. His work is regularly programmed in museums and festivals internationally, including Kasseler Dokfest, Sheffield Doc/Fest, RIDM, Canadian Centre for Architecture CCA, BIENALSUR, Cinemateca de Bogotá, Cinémathèque Québécoise, Cinémathèque Pacific, Museu de Arte Moderna do Rio de Janeiro, Museo Chileno de Arte Precolombino, Leonard & Bina Ellen Art Gallery, Center for Contemporary Arts Santa Fe, among others. Born in Mexico in 1977, and based in Montréal, Canada.

Dawns takes us to a time when sleep is disrupted and insomnia becomes a collective condition. Captured before sunrise, with non-actors in a variety of outdoor environments, the multi-channel work consists of a series of continuous shots and long takes. The slow cinematographic images are reminiscent of tableau vivants where people, in groups or alone, find themselves in an urban environment or the transformed wasteland of a former industrial area. Exhaustion is conveyed by the bodies’ postures and their near immobility, composing at the same time an atmospheric landscape of fragility and endurance at the limit of the perceptible. While the videos look still images, they allow us to see the slow, luminous transition of night into day.

Jessica Arseneau (originally from Tilley Road, Canada) obtained a Bachelor of Fine Arts at Université de Moncton in 2011 and a Master’s Degree in New Media at the Academy of Fine Arts Leipzig in 2020, both completed with distinction. She received a grant from the Salzburg International Summer Academy of Fine Arts in 2017 and a scholarship from Saas-Fee Summer Institute of the Arts in 2021.?? Her solo exhibitions include Surrounding Uncaring Skies as part of the Festival International du Cinéma Francophone en Acadie, Moncton, Dawns, a storefront exhibition organized by Ringlokschuppen Ruhr, Mülheim an der Ruhr, The Screen Under My Eyelids at Helmut, Leipzig, Nothing but a Constant Glow at Spinnerei Archiv Massiv, Leipzig, and Lost Idyll, at Galerie d’art Louise-and-Reuben-Cohen, Moncton. ??Other public presentations of her work occurred at Galerie Sans Nom, Moncton, Struts Gallery, Sackville, Darling Foundry, Montreal, Maison de la Culture du Plateau-Mont-Royal, Montreal, BronxArtSpace, New York, Agora Collective, Berlin, Traverse Vidéo, Toulouse, Friche la Belle de Mai, Marseille, D21 Kunstraum, Leipzig, and a&o Kunsthalle, Leipzig.

In Barefoot Birthdays on Unbreakable Glass, three women reflect on art creation, immigration, and their own mother-daughter relationships: relationships cut short, relationships evolving, relationships to treasure. Following insights of independent experiences of love and loss, they unite in one space to celebrate a new chapter of life and friendship.

Rebecca Jane Arthur (b.1984, Edinburgh) is a visual artist working predominantly with the moving image and text. Her works often transpire as experimental film portraits of people and places, and her interest lies in how personal stories depict a socio-political context and history, giving particular attention to class politics, education and women’s experiences. She is co-founder of the Brussels-based, artist-run production and distribution platform elephy, contributor to the online film criticism platform Sabzian, and a PhD in the Arts candidate at KASK & Conservatorium/School of Arts Ghent where she teaches in the visual arts department and lectures on art and feminist theory.

La nuit, des hommes étranges, en combinaisons jaunes, pénètrent dans un jardin botanique. La nature est foisonnante et fascinante. Le gardien des lieux rejoint l’équipe des « chercheurs » pour les emmener plus loin, vers l’étang aux nénuphars. Le corps in- animé d’une jeune femme est retrouvé là. Le jardin en cache d’autres, enfouis dans ses trésors végétaux puis une lumière étrange apparaît du corps de ses femmes.

À la suite de ses études aux Beaux-Arts de Paris, de Tianjin (Chine) et de Bruxelles (La Cambre), Mali Arun développe un travail situé entre la fiction, le cinéma documentaire et la vidéo d’art qui questionne à la fois les espaces en marges, en mouvements ou en conflits. Elle observe aussi le corps, ses géographies, ses désirs et ses contradictions. Elle interroge la façon dont l’Homme en exil arpente des zones de passages et de frontières, transforme l’espace, le paysage en territoire en se l’appropriant. Elle explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre et survivre. Elle présente ses films dans de nombreux festivals de cinéma, dont Clermont-Ferrand -Cabourg – St. Petersbourg – Pantin – Cinémathèque française – Festival Tous Courts d’Aix-en Provence où elle obtient le Prix du Jury – Le coup de coeur du jury au Festival Point Doc ou encore la Mention Spéciale au Festival de Contis. Elle vend ses films à Arte et au programme Le Radi. En 2019 elle présente son film La maison à Visions du Réel, Nyon, lauréat du Sesterce d’Or Canton de Vaud, meilleurs film de la compétition internationale long-métrages Burning Lights. Elle réalise Paradisus pour la collection La première Image commandité par le CNAP et le G.R.E.C. Elle expose son travail lors d’un solo show à la Galerie T66 à Freibourg en Allemagne ainsi qu’à la Villa Emerige en 2017 et au Salon de Montrouge en 2018 où elle obtient le Grand Prix du Jury, Palais de Tokyo. En 2019 elle présente une sélection de ses travaux lors d’un solo show au sein de l’exposition Futur, ancien, fugitif au Palais de Tokyo avec la collaboration de Claire Moulène. Elle réalise une création vidéo pour Rituels, création musicale de l’Orchestre National de Jazz présentée à la Maison de la Radio et lauréat des Victoires du Jazz et d’une Victoire d’honneur 2020. En 2020 elle montre son travail vidéo au Centre Phi, Montréal – CEAAC, Strasbourg – Art Genève, Suisse – FRAC Champagne-Ardenne – Manifesta, Marseille – Institut Français du Japon, Kyoto – Elle présente une exposition personnelle au FOAM Museum à Amsterdam, Hollande. Elle est également lectrice pour le CNC (aide avant réalisation au court-métrage), pour l’aide à l’écriture de la Région Grand – Est et pour le G.R.E.C.

The actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate—at once helpless and aggressive—through the that can no longer be changed.the actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate “at once helpless and aggressive” through the that can no longer be changed.

carsten aschmann lives and works in hannover. he has studied at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. Mainly he is a filmmaker, and a screenwriter. more info www.hula-offline.de

Labadi Rising an urban sprawl, a gigantic, close-knit urban conglomerate along the westafrican coast from Abidjan to Lagos? The prediction of urbanist Mike Davis ( planet of slums) for 2050 could easily become reality long before. Labadi, located at the periphery of Accra where the city just merges with neigbouring portcity Tema is fitting exactly into this scheme. Thats where Daniel Aschwanden, Conny Zenk und Mat Hurtl meet the performancegroup GOLOCAL around visual artist Serge Attukwei Clottey, all of them inhabitants of Labadi. They demonstrate a new african self-consciousness through their way of trashy posing and improvise in public space along the beach. "The digital gaze belongs to all!" they seem to say, looking back through the displays of their gadgets, creating their own images. They stand for many young Africans facing the challenges of everyday life: poverty, violence , environmental pollution, rivalry, corruption and exploitation through global capital and own elites. The collage as a principle of life, seemingly omnipresent tool to appropriate symbolic and real territories serves as a matrix also for the videoshooting. The big themes are to be found in microspaces and depict themselves in surprizing transitions; locations, things, humans, actions, smells, realities, sounds, continuously measured, built-in, destroyed, rearranged and applied again, the construction of a future.

Daniel Aschwanden is experimenting with transdisciplinary methods in urban contexts departing from body related agendas applying a choreographic gaze to urban surroundings. His works articulate themselves in a wide range of formats reaching from interventions in public spaces to installations and performances in Gallery spaces and theatres and relating social with art agendas. Lecturer at the university of applied arts Vienna, since 2013 at the social design studio. Collaborations with media artist Conny Zenk since 2009. Urban seed, urban performative installation Vienna , PARCOURS I-IV 2010-13 urban performances Vienna, Path of money Beijing, Berlin,Vienna, system_m, Bastard crowding,urban media performance Accra, Beijing, Vienna, SUPERSUIT Vienna Conny Zenk is media artist with the focus on generative video art, installation and performance. she explores hybrid contexts between projection, digital gadgets, bodies and urban environments. Active as a live visual improviser she works chiefly with software that allows her to investigate digital processes and to translate them into videos of abstract landscapes. collaboration with Daniel Aschwanden since 2009. WEAVE (Installation), urban seed (Performance), scope (visual Live Performance), Art of Reading Maps (Urban Performance), Bastard crowding (Workshops and Performances)

"Finally" traite d'histoire et de violence et explore les limites entre le film narratif et l'histoire. Le film a été filmé dans un contexte historique à Salzbourg en Autriche. Dans "Finally", les trois personnages principaux se battent violemment et répétitivement sans que de causes ne soient données dans la narration. Cette violence semble d'ailleurs être une réaction envers, ou bien une demande de, un lieu qui est aussi bien historique que contemporain. Le film fonctionne plus comme un jeu entre le placement architectural et spatial et le langage utilisé par les protagonistes, plutôt qu'une histoire linéaire.

Knut Åsdam vit et travaille entre New York, Paris et Berlin. Depuis 10 ans, ses oeuvres sont exposées, projetées et diffusées dans le monde entier. Il a notamment exposé à la Tate Britain, à la Biennale de Venise, au Museum of Contemporary Art, au Moderna Museet, au PS1 et au Musée d?Art Moderne de la Ville de Paris. Des articles sur son oeuvre ont entre autres été publiés dans Artforum, Grey Room, Untitled Magazine.

Egress is a narrative set in a gas station in the edgelands of Oslo. The main characters work at the bottom of the oil company hierarchy and are engulfed in the everyday and the dark economic and psychological shadows of their society. Egress is the story of a young woman who deals with her every day work situation with independence and stubbornness in her work and life in the periphery of the city. The film shows relationships between control and independence, about labour, class and work, but it is also a poetic film about a socially insecure edgeland of the city—and about a psychological flipside or cost of the everyday, somewhere near the bottom of the huge economic ladder of the oil industry which secures Norway's stability. Egress' world is a world of social instability and economic insecurity as part of a society undergoing major changes. Egress is shot entirely on "location" in Oslo's Groruddalen, mainly between an apartment complex and a gas station. The film is an experimental fiction built up from documentary material which mixes the environment- and character-based to talk about contemporary society.

Knut Åsdam (1968) is a filmmaker, installation artist and photographer. Åsdam established his international work through the art scene in New York after finishing studies at Wimbledon School of Art (London, 88-89), Goldsmiths College (London, 89-92), Jan van Eyck Akademie (Maastricht, 92-94) and at the Whitney Museum Independent Study Program (NYC 94-95). Expressed in diverse forms, the main interest of Åsdam’s work remains a concern for contemporary society and its psychological and material effects, and the toll of every day life; e.g. how individuals constructs and negotiates his or her identity in reaction to the rules and organizations of contemporary society. Åsdam investigates the usage and perception of public urban spaces, including their structures of political power and authority. The themes in Åsdam’s work can be thought of relating to four essential categories; ‘Speech’, ‘Living’, ‘Sexualities’ and ‘Struggle’. These concerns often relate to themes of dissidence and to analysis of space in terms of desire, usage and history. The idiosyncrasy of Åsdam’s approach to the cinematic field is created by transposing the resources of spatial and place-oriented discourses from the Fine Arts context into film. Furthermore, he uses a plotless narrative and an oscillation between documentary and fictional narrative elements in the films. Åsdam´s work has been shown widely at i.e. Tate Modern; Bergen Kunsthall; Tate Britain; Boijmans van Beuningen Museum, Rotterdam; Venice Biennial; Kunsthalle Bern; Istanbul Biennial; FRAC Bourgogne; MACRO, Rome; Museum of Contemporary Art, Oslo; Manifesta7; Moderna Museet, Stockholm; P.S.1 MOMA, NYC: and Musee d’Art Moderne de la Ville de Paris, among others.

Abyss portrays an urban reality characterised by migration and change ? the movement of people, the movement of money and power, and the drift of the imagination. Filmed in East London, including the 2012 Olympic construction site the film is set within spaces of the modern city ? markets, gyms, parking lots, parks, squares, streets and stores. The main character, O, negotiates her material world but the city?s economical, political and social demands appear to have been absorbed into her movements, speech and psychology. The film drifts between a material world and its psychological effects.

Knut Åsdam was born in Trondheim (1968). He currently lives and works in Oslo. Åsdam established his international work as an artist through the New York context where he lived from 94-04 and attended the Whitney Museum Independent Study Program, NYC (94-95). Previously he studied at the Jan van Eyck Akademie (92-94), Goldsmiths College, London (89-92) and Wimbledon School of Art, London (88-89) after preparatory studies in Psychology, Philosophy and Linguistics at the University of Oslo and Maui Community College, University of Hawaii (86-89). Though expressed in very diverse forms, the main interest of Åsdam?s work remains a consistent concern for the manner in which each individual constructs and negotiates his or her identity in relation to the change and organizations of contemporary society. This sensitivity to the instability of the self often expands on the merits of queer theory and feminism, as well as psychology of language and (lacanian) psychoanalysis. His investigation of the relationship between language, the body and the usage and perception of public urban spaces, includes a look at structures of political power and authority, and has taken the diverse form of audio, film, video, photography and installation. The themes in Åsdam?s work can be seen through four categories; ?Speech?, ?Living?, ?Sexualities? and ?Struggle?. These concerns are often related to themes of deviation or crisis and to analysis of space in terms of desire, usage and history. The idiosyncracy of Åsdam?s approach to the cinematic field is created by transposing the resources of the discussions of place and subjectivity and the keen attention to the politics of language from the Fine Arts context into film. Åsdam has been active with exhibitions, publications and broadcast internationally for the last 15 years at i.e. Tate Britain and Tate Modern, London; Venice Biennial; Künsthalle Bern; Istanbul Biennial; Bergen Kunsthall; MACRO, Rome; The Astrup Fearnley Museum, Oslo; Manifesta7; Moderna Museet, Stockholm; P.S.1 MOMA, NYC; FRAC Bourgogne, Dijon and Musee d?Art Moderne de la Ville de Paris, among others.

A Tripoli, ville du nord du Liban, se trouve ce qui reste de l?un des projets architecturaux les plus distinctifs au monde : un centre international d?exposition, conçu par l?architecte brésilien Oscar Niemeyer en 1966, et laissé à l?abandon depuis le déclenchement de la guerre civile en 1975. Dans une forme qui oscille entre le documentaire d?architecture et une représentation théâtrale incohérente, le film décrit tout à la fois le lieu et, comme un sous entendu, l?histoire violente qui a laissé ce site dans un état d?inachèvement et de délabrement. Les vestiges modernistes apparaissent déboîtés, et fonctionnent comme un monument à une époque optimiste au Moyen Orient, qui semble maintenant bien distante.

Knust Åsdam est né à Trodheim en 1968. Il vit et travaille actuellement à Oslo. Knut Åsdam s?est imposé comme artiste international à New York, où il a vécu de 1994 à 2004. Il a suivi dans cette ville le Whitney Museum Independent Study Program, NYC (94-95). Auparavant, il a étudié aux Pays-Bas, à la Jan van Eyck Akademie (92-94), au Goldsmiths College de Londres (89-92) et à la Wimbledon School of Art, Londres (88-89). Il a par ailleurs étudié la psychologie, la philosophie et la linguistique à l?université d?Oslo et au Maui Community College de l?université de Hawaii (86-89). Exprimée sous de multiples formes dans son travail, l?attention de Knut Åsdam est constamment tendue par la manière dont chaque individu construit et négocie son identité, en relation avec l?organisation et les modifications de la société contemporaine. Cette sensibilité à l?instabilité du soi est nourrie des valeurs portées par les théories queer et féministes, aussi bien que de la psychologie du langage et la psychanalyse lacanienne. La recherche de l?artiste sur les relations qu?entretiennent le langage, le corps, la perception des espaces publics urbains et l?usage qui en est fait, inclut un examen des structures du pouvoir et de l?autorité, et prend des formes diverses : audio, film, vidéo, photographie et installation. Les thèmes du travail de Knut Åsdam peuvent être vus au travers de quatre catégories : le discours, la vie, les sexualités et la lutte. Ces préoccupations sont souvent reliées aux thèmes de la déviance, de la crise, et à l?analyse de l?espace, en termes de désir, d?usages et d?histoire. Le caractère idiosyncratique de l?approche de Knut Åsdam du champ du cinéma est créé par la transposition des ressources de l?analyse des lieux et de la subjectivité, par une attention soutenue au caractère politique du langage, le déplaçant du contexte des beaux arts vers le champ du film. Ces dernières années, le travail de Knut Åsdam a été exposé, publié, et diffusé, notamment à la Tate Britain et à la Tate Modern, Londres; à la Biennale de Venise; à la Künsthalle de Berne; à la biennale d?Istanbul; au Kunsthall de Bergen; au MACRO, Rome; à l?Astrup Fearnley Museum, Oslo; à la Manifesta7; au Moderna Museet, Stockholm; au P.S.1 MOMA, NYC; au FRAC Bourgogne, Dijon et au Musée d?Art Moderne de la Ville de Paris.

Les environnements urbains et leurs sites hétérogènes sont les lieux des explorations de Knut Asdam, qui s?intéresse au design social, aux modèles de comportement et aux modes de subjectivité en mettant l?accent tout particulièrement sur les troubles de l'identité et les pathologies spatiales. Asdam perçoit la ville comme une machine à désir, sa géographie comme un système de désir et son architecture comme un générateur pour pratiques désirantes. « Oblique », dont la première a eu lieu à Manifesta 7, est un récit hybride cinématographique et architectural, qui révèle des espaces publics ou semi-publics à l?intérieur de la ville. L'artiste invite le spectateur à un voyage à travers une « ville » en mouvement, construite à partir de villes et de régions de divers paysages politiques, économiques, culturels et sociaux. Asdam parle de lieux intensément chargés au niveau psychologique : des banlieues nouvellement construites en périphérie, des chantiers de construction, des immeubles institutionnels, des bureaux, des lieux de transition, entre construction et effondrement, marqués par les processus presque contradictoires de progrès économique et de développement des bidonvilles. Cependant, en même temps, il construit un espace critique objectif sur l?urgence politique.

Knut Åsdam est né en 1968 à Trondheim (Norvège) et vit actuellement à Oslo (Norvège). Il est actif sur la scène internationale depuis plus de dix ans, avec ses expositions, ses publications et ses émissions. Il a largement exposé à la Tate (Grande-Bretagne), à la Biennale de Venise (Italie), à la Kunsthalle de Berne (Suisse), à la Biennale d'Istanbul (Turquie), au Museum of Contemporary Art, au Moderna Museet, au PS1, et au Musée d'Art Moderne de la Ville de Paris (France), entre autres. Des articles de fond sur son ?uvre ont été publiés dans la revue « Artforum », « Gray Room », « Le Monde Diplomatique », « Untitled Magazine », notamment. D?une manière très visuelle et spatiale, Åsdam se sert du son, du film, de la vidéo, de la photographie et de l?architecture pour travailler avec la politique de l'espace et les limites de la subjectivité. Souvent, ces préoccupations sont liées au thème du désaccord, ainsi qu?à l'analyse de l'espace en termes de désir, d'usage et d?histoire. Il existe quatre catégories essentielles dans l??uvre d?Åsdam : le « Discours », la « Vie », la « Sexualité » et la « Lutte ».

Grandeur et décadence d?un petit commerce de cinéma. Cinema Mundial 1957-2007 is a 21-minute short film that reflects the life of the celluloid via a digital camera and reveals the real essence of cinema. Cinema Mundial 1957-2007 shows the magnanimity and decadence of a small commercial movie theater in Sant Celoni, a village located in the province of Barcelona. In the projection room, Félix, the projectionist, and Juan, his assistant, carry out their work using traditional methods. They keep on working even though they know that it might be their last showing due to the warnings on the imminent closing of the movie theater. Some months later, we can still appreciate the demolition of this movie theater and its marks recall a history and a memory of cinema.

Carles Asensio Monrabà, was born on September 30th 1979 in Sant Celoni, a village in the province of Barcelona His studies and audiovisual works were carried out between Barcelona and Madrid. In Barcelona, he studied Direction in the Centre d?Estudis Cinematogràfics de Catalunya (CECC); after that, he got a grant by the Escuela de Cinematografía y Audiovisuales (ECAM) to study in Madrid. Among his fiction short films stands out Revival (finalist in the Fifth Edition of Notodofilmfest), Kiss me, fool or For Ever Lola (a false documentary that pays tribute to Basilio Martín Patino.) Other audiovisual works fall within the category of experimental documentaries, such as the short film Cinema Mundial 1957-2007 or 01 one, a feature film project inspired in Abbas Kiarostami´s film-making experience with his film Five. His artistic interests led him to study at the Col·legi de Teatre in Barcelona; in connection with theater, he establishes the group called Irma Vep in 2007, together with the actress Clara Macías Carcedo, who also takes an active part in his audiovisual works. In 2008 he takes the Documentary Master?s Program at Pompeu Fabra University in Barcelona. The Museum of Modern Art (MoMA) in New York city has just acquired Cinema Mundial 1957-2007 for its Permanent Collection. This short film was selected by New Directors/New, organized by MoMA and the Film Society of Lincoln Center to be screened in the last edition which took place in April 2008. As a result of his participation in this Film Festival, the Museum showed its interest in acquiring a copy of his work for its Permanent Collection, where we can find some of the most representative works from the world history of film. MoMA was the first museum that acquired films as works of art for debating and broadcasting purposes. In its collection we can find films by Charles Chaplin, Eisenstein, F.W. Murnau, John Ford, Carl T. Dreyer, Fritz Lang, Orson Welles, Roberto Rossellini, Federico Fellini, Yasujiro Ozu, Jean-Luc Godard, Andy Warhol, Stanley Kubrick, Francis F. Coppolla, Lars von Trier, Jia ZhangKe, David Lynch or Jim Jarmusch. Up until now, the only Spanish film-makers included in this collection were Luis Buñuel: El perro andaluz, La Edad de Oro, Los Olvidados, Belle de jour and El discreto encanto de la burguesía and Pere Portabella: Vampir cuadecuc and El silencio antes de Bach. In March 2009, his short movie was selected to be screened at the International Film Festival of Las Palmas de Gran Canaria (Canary Islands) as part of the Cinema Cycle DGeneraciones II. Presently, Carles Asensio is writing a script for a fiction feature film and is working in the creation of video art works based on 20th Century Painters such as Francis Bacon and screen-art.

“Machine Boys” is a short film which explores the informal economy of motorcycle taxis; colloquially known as “Okada”, in the mega city of Lagos. Banned due to the government’s inability to regulate it, “Machine Boys” portrays a hardy group of bikers who continue this work, seeking to attain financial autonomy and independence. “Machine Boys” dwells on the consequences of this ban, meanwhile portraying the daily rituals and challenges faced by Okada riders. The riders embody though their stylish attire, and self-assured, powerful behavior, a particular branch of masculinity, and in this performance a beautiful vulnerability emerges, questioning Nigeria’s patriarchal culture. Through this exploration of Nigerian patriarchal ideals, Ashadu relates its performance of masculinity to the vulnerability of a precarious class of workers. With its innovative, cutting-edge style and sartorial references, it engages in a dialogue around post-colonial informal economy structures in Nigeria, as well as opening a window into the socio-cultural nuances of its most populated city.

Karimah Ashadu (b. London 1985) is a British-born Nigerian Artist and Film Director living and working between Hamburg and Lagos. Ashadu’s work is concerned with labour, patriarchy and notions of independence pertaining to the socio-economic and socio-cultural context of Nigeria and its diaspora. Her work has exhibited and screened at institutions internationally, including the 60th Venice Biennale, where she was awarded the Silver Lion for a Promising Young Participant in the International Exhibition. She has shown at Kunsthalle Bremen, Tate Modern, London, Secession, Vienna, Kunstverein in Hamburg, South London Gallery, London, Museum of Modern Art, New York and Centre d’Art Contemporain Genève. Ashadu is the recipient of other awards such as the Prize of the Bötterstraße in Bremen (2022) and the ars viva prize (2020). Public collections include MoMA, the City of Geneva Contemporary Art Collection and the Federal Collection of Contemporary Art, Germany. She was named Abigail R. Cohen 2021 Fellow at the Columbia Institute for Ideas and Imagination, Paris. In 2020, Ashadu established her film production company Golddust by Ashadu, specialising in Artists’ films on black culture and African discourses.

?Back in Five Minutes? est un bref thriller du monde de l?art qui se contient lui-même et ne comporte pas de solution. Un curator visite un studio et le trouve absolument vide. Les seuls éléments rappelant l?existence des artistes sont leurs téléphones portables et une note indiquant qu?ils sont partis chercher du lait et des biscuits, et reviennent immédiatement. Le curator commence alors à explorer la pièce de manière invasive, et découvre finalement un sac contenant du lait et des biscuits fraîchement achetés. Un peu plus tard, lors d?une conversation sur l?oreiller, le curator se demande si sa visite du studio n?était pas une mise en scène orchestrée par l?artiste, qui aurait ainsi essayé de l?inclure dans son travail. Néanmoins, sa partenaire suggère qu?il est peut-être réellement arrivé quelque chose à l?artiste, et qu?il serait bon de contacter la galerie. "Back in Five Minutes" explore le fossé potentiellement dangereux existant entre l?art et la vie, les sentiments privés et les soupçons professionnels, l?art fondé sur des objets et celui fondé sur des corps (performances), enfin sur les dynamiques du pouvoir dans le monde de l?art.

Oreet Ashery est une artiste pluridisciplinaire qui vit à Londres. Elle s?intéresse à l?art vivant, à la vidéo, au graphisme 2-D. Elle emploie également les objets, le texte et l?internet comme supports de son ?uvre. Son art vivant tend à prendre la forme d?un événement pluridisciplinaire in situ, prenant les gens du public comme participants. Ce travail se penche sur les politiques ayant trait aux questions personnelles, et leurs relations complexes avec les réalités sociales. Ashery s?intéresse à la rencontre de la vie et de l?art, des domaines de l'intime et du professionnel. Les ?uvres d?Ashery ont été présentées dans le monde entier et notamment : à la Tate Modern, London ; au OK Centre for Contemporary Art, Linz (Autriche) ; au Schwules Museum Berlin ; au Freud Museum, London ; à la galerie Foxy Production, New York ; à la galerie Arnolfini, Bristol ; à la Biennale de Liverpool ; à la galerie Kapelica, Ljubljana (Slovénie) ; au Musée d?Herzliya, Israël ; au FABO, Toronto ; au Brooklyn Museum, New York ; au Manchester Look 07 Image festival ; à la Galeria de Arte Mexicano (Mexcio City) ; à la galerie NGBK, Berlin et au Centre of Attention, Londres. Son travail a suscité de nombreuses rétrospectives, comptes-rendus et réflexions dans des livres et des magazines culturels, artistiques et académiques.