Catalogue > Liste par artiste

“The Peaceable Kingdom” is a deep fake ontology. It is a dreamscape of various domestic and wild animals inhabiting human architectural spaces metaphorically and physically as both totems and discrete intelligent beings. The title is taken from a series of paintings by the Quaker minister and painter, Edward Hicks.

Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs. Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA. International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic. And Video Art Miden and Video Art Projects, Municipal Gallery of Thessaloniki, Thessaloniki, Greece, FILE SP 2023 exhibition and Hochkantfilmfest, Portrait -video on advertising billboards, Bremen, Germany in 2023 Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022. Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022, at Scott Lawrie Gallery, Auckland New Zealand 2022, and aGallery, Whanganui, NZ.

Ghost Zone is an homage to Tarkovsky`s “Stalker” (1979) takes us on a journey to the original expedition into the ineffable aqueous “Zone” - where wishes may be granted to one’s detriment. Bunkley stitches together his own footage in such a way that the landscape and buildings resemble a magic realist post-apocalyptic wasteland. Photographic composites of two rural locations has been made a lot easier with the use of drone captured imagery in that they will accommodate points of view not accessible form the ground. From this data he uses photogrammetry 3D scanning to create his eerie works as “œislands of memory┝ - akin to the islands that feature in the science fiction film Solaris (1972) by Andrei Tarkovsky. (Photogrammetry uses multiple photographs placed within software that creates 3d printable meshes.) By extracting these images, the buildings are divorced from their surrounds while the videos resemble chunks of architecture and landscape made from an indefinable material floating in black cyberspace.Ultimately they refer to eschatology - the “end of time”.

Brit Bunkley is a New Zealand based artist whose art practice includes the proposal and construction of large scale outdoor sculptures, discrete objects, installations as well as the creation of ”impossible” moving and still images and architecture designed using computer 3D modelling, video editing and image editing programs. His work explores an oblique sense of paranoid apocalyptic fear tempered with a sense of whimsy and irony. International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival, and he was again included in «Now&After» at Moscow’s Artplay Design Center February 2018. Recent solo exhibitions include Ghost Shelter 17 at Te Uru, Titirangi, Auckland, The Happy Place- Sanderson Contemporary Art, Auckland and the Sarjeant Gallery, Whanganui, New Zealand in 2018.

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1.Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2.The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3.Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4.The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5.Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6.The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.

Brit Bunkley’s current art practice includes public art, sculpture, installation, and the creation of “impossible” moving and still images and architecture designed using computer 3D modelling, video and image editing programs, with content emphasizing majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. In addition, he has received several grants and fellowships including a Wallace Trust grant in NZ; a New York State Fellowship (CAPS) grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. Recent international group exhibitions and screenings include Sanctioned Array-Other2 Specify at the White Box gallery in NYC, Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and at the Reina Sofia National Museum, Madrid, Spain; The Haus der Kulturen der Welt, Berlin; FILE 2012 at the SESI' Cultural Centre Sao Paulo, Brazi;, the Berlin International Director?s Lounge 2014 and the Moscow Museum of Modern Art where he won an award. Bunkley?s most recent solo exhibition, Social Realism opened at the Sanderson Contemporary Art, Auckland, NZ November 2014- with forthcoming solo exhibition November 2015. Recent video exhibitions and festivals include FILE 2015; Fiesp Cultural Center, Sao Paulo, Brazil; the International Video Art Festival “ Now&After ” MINI VIDEO'15, Schusev Museum of Architecture, Moscow, Russia, and International short- and longfilm videodays 2015 and 2016, G.A.S-station, Berlin, Germany

Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought stricken areas of the world. I imagined spilling flower petals into the path of dust devil so that it would create a colorful vortex of swirling petals. I recently found a few dust devils during each of my 3 trips to the California desert, but they are fast, dissipate quickly and mostly too far off the road to catch…always just ahead of my car. When I was ready to give up looking after my third desert trip and was focusing my camera on abandoned school, a well-formed small dust devil appeared about 10 meters to my right. I turned my camera on a tripod towards it, snatched a bag of flower petals that I had bought at LA`s flower district and ran into the small vortex dumping the contents. It grabbed the petals and dumped them over a nearby road.

Brit Bunkley is a New Zealand based artist whose current art practice includes public art, sculpture, installation, and video. He designs his work using digital 3D modelling, video and image editing programs… emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. He is a recipient of a New York State Fellowship grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. He has completed more than a dozen temporary and permanent public art projects including the commission Hear My Train in Wanganui, New Zealand completed in 2012 and a public screening at the Oslo Central Station, Oslo Screen Festival in collaboration with Kunsthall Oslo, Oslo, Norway autumn 2013. Recent international group exhibitions and screenings include 2015 at the SESI` Cultural Centre Sao Paulo, Brazil, the Berlin International Director’s Lounge 2014 and the Moscow Museum of Modern Art. Bunkley’s most recent solo exhibition, The Happy Place opened at the Sanderson Contemporary Art, Auckland, NZ November 2014.

Up River Blues is a dreamlike series of vignettes featuring the region surrounding the Whanganui River Valley. The Whanganui River is New Zealand?s longest navigable river with rich historical significance. The abandoned Shangri-la commune of Ahu Ahu Ohu, on the Ahu ahu tributary of the Whanganui is the central feature of this video. In 1974 the NZ government found an ?Ohu Scheme? on public land to establish communes - ?intentional communities?. Most failed. This was one of the longest lasting "Ohus". A sense of apocalyptic foreboding was created through special effects including 3D animations of a stranded Russian submarine rusting on a steep inland hill and black helicopters flying over Ahu Ahu Ohu. (In fact, helicopters are a reality in this region in the government?s search for marijuana crops; the hills are indeed former sea beds.) In combining apocalyptic paranoia with irreverent whimsy the video ends with a tree disappearing into its shadow and a crop duster reversing into a cloud of dust.

Brit Bunkley, emigrated with his family in 1995 from New York City to take up a teaching position to New Zealand. Bunkley`s art practice during his 16 years in New York included building numerous commissions while also receiving several grants and fellowships including a National Endowment of the Arts Fellowship grant, New York State artist Fellowship, and the Rome Prize Fellowship. (see: www.britbunkley.com) Bunkley?s work has appeared in many solo and group shows internationally and is in many public and private collections in New Zealand and the USA. Exhibitions included St@rt up: New Interactive Media and Animation at the Museum of New Zealand Te Papa and SIGGRAPH 2003 , 2004 and 2006. In addition he showed artwork at Ciberart-Bilbao 2004 Festival and art show, Bilbao, Spain, Prog:ME the1st Festival of Electronic Media of Rio de Janeiro in Brazil; Rencontres Internationales Paris/Berlin/Caracas, 2005 in Paris and 2006 in Venezuela. Bunkley?s sculpture has been commissioned by the NY MTA, the Minnesota Percent for Art program, Connells? Bay, NZ and several other public and private agencies (His work is featured in the Along the Way: MTA Arts for Transit, Celebrating 20 Years of Public Art, by the Monacelli Press; 2006 and The Art of Placemaking: Interpreting Community Through Public Art and Urban Design, 2008, by Ronald Lee Fleming.) Recent shows include FILE RIO 2007 in Rio de Janeiro, Brazil and FILE - Electronic Language International Festival, in Sao Paolo: Brazil, March 2008; Urban Screens Melbourne 08; Federal Square, Melbourne, Australia; Eform; Beijing - Today Art Museum; Shanghai - Duolun Museum of Modern Art; Chongqing - Jinse Gallery; Migration, Völklingen, Germany; as well as solo shows at the NZ Film Archive Gallery ?A Slow Train a? Comin?? and at Mary Newton Gallery - both in Wellington, New Zealand. In 2008 he co-curated and participated in the show Terrible Beauties, at City Art Room in Auckland. File 10 Nurbs Proto 4KT, Sao Paolo. In 2010 he co-curated and participated in the exhibition Hybrids at Auckland?s MIC gallery; exhibited at the National Contemporary Art Award at the Waikato Museum of Art, NZ; Insideout, Sydney; A Light at the End of the Tunnel, Scope Basel, Basel; From the Earth to Space: Exobiology & Biodiversity, Cité des sciences et de l`Industrie, Paris; and he recently had a solo show at the Mary Newton Gallery in Wellington. He will exhibit video at the E4C: Electronic Gallery; Seattle.

Las fuerzas follows a group of future jockeys. Under a school logic, with methods and forms of assimilation similar to any other kind of learning system, the material to be modeled is the body. A body that is complemented by an other, a small body that should not grow, of a latent fragility, always about to break.

Degree in Audiovisual Arts from the National University of La Plata, Argentina. Her short films Las Instancias del Vértigo (2010), Los Animales (2012), Las Fuerzas (2018) were screened at Cinéma du Réel, BAFICI, Film Society Lincoln Center, FICUNAM, FIC Valdivia, La Habana, among others. She was part of the Film Laboratory of Universidad Di Tella, coordinated by Martín Rejtman and Andrés Di Tella. Currently, she´s developing her first feature, The breed of swift.

Février 2004. Une femme,agent du Bureau of Inverse Technology (BIT) en transit par l?aéroport de Los Angeles (LAX) est entourée et immobilisée par au moins 16 policiers et agents de la sécurité aérienne parce qu?elle a refusé d?enlever ses patins à roulettes. Ce refus qui semblait anodin a précipité la voyageuse de l?autre côté de la mince frontière entre cliente de Première Classe et possible traîtresse folle. La caméra numérique de l?agent entassée dans son porte bagage enregistre la situation. LAX saisit la banalité d?un désastre, routinier pour un aéroport, pour exposer un état des choses plus général : l?escalade des contrôles et des decrets contre la mobilité personnelle ; et les effets diffus d?un sur-contrôle policier des aéroports au lendemain du 11 septembre. ??VOUS PORTEZ VOS PATINS A ROULETTES AUJOURD'HUI, MAIS VOUS AVEZ DECIDE QUE VOUS NE VOULIEZ PAS PRENDRE AVEC VOUS VOTRE CERTIFICAT QUI VOUS AUTORISE A PORTER DES PATINS A ROULETTES??.

Le Bureau of Inverse Technology (BIT) formé a Melbourne en 1991 en Australie incorpore les Îles Canaries. Ce Bureau est une agence d?information au service de l?Age de l?Information.

La ville n’est pas. Non pas en raison d'une hypothétique absence physique - la ville est bien présente - mais parce qu'elle échappe à la dénomination. (Johannes Binotto et Andri Gerber)

Daniel Burkhardt a étudié les arts médiatiques à la KHM - Kunsthochschule für Medien, Cologne (Allemagne), où il vit et travaille actuellement. Ses installations vidéo et audiovisuelles exposent de manière ludique et ingénieuse la perception humaine comme moteur de la construction du sens.

EXTENDING TRAINER:PRESSURE SUITS & BROOM-CRAFTS 21:00-STEREO-©2007 Une performance qui allie des agences spatiales alternatives, des crypto-centres d'entraînement, des ateliers pour régressives familles spéculatives, des études d'androïde félins, des casques verts, des rayons de lumière, de spectaculaires poussettes, des projectiles organiques, des chorégraphies ésotérique de groupe et des programmes de résidence vidéo.

Torsten Zenas Burns reçu son MFA en vidéo et performance de la San Francisco Art Institute en 1993. Il a crée et mis en place des projets vidéos et d'installation qui explorent des thèmes spéculatifs comme des pratiques éducatives alternatives, des programmes spatiaux expérimentateurs, des relations avec des zombies et des chorégraphies de sauvetage improvisées. Il a aussi collaboré avec Darrin Martin et Anthony Discenza en tant qu'Halflifers. Le travail vidéo de Burns est distribué par la Vidéo Data Bank de Chicago et le Lux Centre en Angleterre. Burns a participé à plusieurs résidences comme le Headlands Centre for the Arts, L.M.C.C. World View Studio Program et Eyebeam. Ses vidéos furent montrées au MoMA, NYC, Scanners, The New York Video Festival, à l'European Media Art Festival(Allemagne) et le Impakt Festival (Hollande).

A Chant for the Bees is a film about everyday events: a visit to a nearby copse by the creek, some goats at the farm, some young tennis players volleying and breathing heavily on a summer's day, a young family preparing to embark on a ferry, a visit to the seals at the aquarium, some amusement park rides, the neighbour’s cat on the front porch, a stroll past the supermarket on the high street, a view of some ships at harbour. The original music is composed by Alan Gasser. The libretto is based on a list of the 100 largest companies in the world from Fortune Magazine. It is sung as a Georgian Chant by Alan Gasser and Emma So.

Bill Burns comes from a bookselling family in Saskatchewan. He learned about art and tractors from monks, poets and farmers. He is artistic director of the Big Pond Small Fish Laboratory in Toronto. His works are included in collections at the Museum of Modern, New York; Kunstmuseum Liechtenstein, Vaduz; Tate Britain, London; the Getty Center, Los Angeles; Remai Modern, Saskatoon; and the Cabinet des estampes, Geneva. His published books and essays include When Pain Strikes, a scholarly anthology, (University of Minnesota Press, 1999: Minneapolis) ; Bird Radio, (Verlag der Buchhandlung Walther Koenig and KW Institute for Contemporary Art, 2007: Berlin) ; The Guide to the Flora and Fauna Information Service:0.800.0FAUNA0FLORA, (Institute of Contemporary Arts, 2008: London, England) ; Three Books About Plants and Animals and War (Verlag der Buchhandlung Walther Koenig 2011: Cologne). His two most recent books are Hans Ulrich Obrist Hear Us, a memoir about his life as an artist (Black Dog Publishing, 2016: London) and Bill Burns: Three Short Films and Some Happenings about Donkeys, Goats, Cowboys and Container Ships (Griffin Art Projects: 2023, Vancouver). He studied at Goldsmiths’ College, London (MA) and lives in the trees at Toronto.

Familiars is an experimental video project re-imagining the Skinner family Massachusetts Wistariahurst house and grounds as a fictional residency program populated by speculative Holyoke entities. Improvisational scenes include collaborations between (Kirsten cameras),(Hanne recorders), kitten & Catman super beings, living memories, baseball ramblers, silk worms, immersion Man, frozen aviary bell jar, Japanese & American mill workers, ectoplasmic typewriters, and 20th century spectral publishing entities.

Torsten Zenas Burns is an artist, curator, and media arts educator living in Holyoke, Massachusetts. He received his BFA in video art in 1990 from the New York State College of Art & Design at Alfred University, and his MFA in New Genres: video and performance art from The San Francisco Art Institute in1993. He has created & curated video, photo and installation projects exploring speculative content, including re-imagined educational practices, experimental space programs, zombie / afterlife relationships, post-human fictions, and improvisational (splatstick). Other collabotronica projects include collaborations with Anthony Discenza under the name HALFLIFERS, Darrin Martin, and VIROCODE. Burns` selected video work is distributed by Vtape, (Canada), Video Data Bank (USA), LUX (England) and EAI (USA). Over the past 19 years Burns has participated in nine residency programs including Headlands Center for the Arts (CA), Experimental Television Center (NY), L.M.C.C. World Views Studio Program, and Eyebeam (NYC). Burns has had video work screened at the NYC Museum of Modern Art`s Video Viewpoints and Premieres series, The Whitney Museum of American Art (NYC), The Pacific Film Archive (CA), SF Cameraworks (CA), Dumbo Arts Center (NY), Video_Dumbo (NY), Aurora Picture Show (TX), Migrating forms (NYC), Krowswork Gallery, (CA), The Chicago Underground Film Festival, The European Media Arts Festival (Germany), The Impakt Festival (Netherlands), The Melbourne International Film Festival (Australia), The Oberhausen Short Film Festival (Germany), The Busan international video festival (South Korea), and The Stuttgarter Filmwinter: Festival for Expanded Media (Germany), In 2011 HALFLIFERS was featured with an artist page in the book Radical Light: Avant Garde Film and Video in the San Francisco Bay Area, 1945-2000. In 2012 he curated BODYRADIO for Parsons Hall Project Space in Holyoke, Massachusetts. In 2013 Burns & Discenza as HALFLIFERS co-curated a group exhibition and performance series called: I think we?re ready to go to the next sequence: the legacy of HALFLIFERS at Gallery 400, Chicago, IL.

Exhibitions 2010 University of California Art Gallery. Irvine, CA, Vide Dada 2009 Fort Gallery. Oakland, CA, Billow Ripple Show Cave. Los Angeles, CA, Future Heat Imago Theater. Portland, OR, Risk/Reward Dark Room. San Francisco, CA, Black Sundays Buswater. Charleston, WV, Anything that Moves Hedreen Gallery. Seattle, WA, Void Sweated Spark Gallery Homeland. Portland, OR, BUM EQUIPMENT Austin Museum of Digital Art. Austin, TX, DATAPOP Baltimore Museum of Art. Baltimore, MD, Whartscape Clinton Street Theatre. Portland, OR, PDX Film Festival Kate Werble Gallery. New York, NY, The Young Pretenders Synchronicity. Los Angeles, CA, Jupiter and Beyond the Infinite Anthology Film Archives. New York, NY, Martha Colburn and Friends Ferenbalm Gubru Station. Karlsruhe, Germany, The Young Pretenders Kevin Kavanaugh Gallery. Dublin, Ireland, The Young Pretenders Paragraph Gallery. Kansas City, MO, Mythmakers OCAD. Toronto, ON, A-V Jam 2008 Impakt Festival. Utrecht, The Netherlands. Raindow Bites On The Boards. Seattle, WA, Northwest New Works Fest Green Lantern Gallery. Chicago, IL, CHCGO Senselesss Hollywood Theater. Portland, OR, PDX Film Fest New American Art Union. Portland, OR, BYOTV Ruffins Gallery. Charlottesville, VA, Landscape CARTUNE XPREZ SPRNG CRUISR TOUR (more info) CARTUNE XPREZ AMRCAN FALL TOUR (more info) Holocene. Portland, OR, WNTR WRKS Union Square. Boston, MA. Vidfest SLURRIES AND FUSES (more info) 2007 Motel. Portland, OR, White Light VIVO. Vancouver, BC, Cute to Kill Reed College. Portland, OR, RAW MonkeyTown. Brooklyn, NY, Psy-Pri Skylab. Columbus, OH, Re-Surfacing Galleri F15. Moss, Norway. Animotion Grass Hut. Portland, OR, Thunder Eyes Monkeytown. Brooklyn, NY. Semiennial 4 Blim. Vancouver, BC. VideoBlim: Psyched AudioCinema. Portland, OR, Retinal Reverb Around the Coyote. Chicago, IL, 2nd XCAPE Boathouse Cinema. Portland, OR, PDXPSYPRI Steven Wolf Fine Arts. San Francisco, CA. Id Is Hollywood Theatre. Portland, OR, PDX Film Festival CARTUNE XPREZ SRF N TRF INTERNATIONAL TOUR (more info) Little Mountain Studios. Vancouver, BC. Animatron 2007 Northwest Film Forum. Seattle, WA, Local Sightings Film Festival Portland Institute for Contemporary Art. Portland, OR, TBA Festival Museum of Photographic Arts. San Diego, CA, San Diego Women`s Film Festival 2006 Bemis Center for Contemporary Arts. Omaha, NE, The Omaha Hobo Shobo Cream City Collectives Gallery. Milwaukee, WI, No Need for Sleep Bemis Center for Contemporary Arts. Omaha, NE, Signal/Channel On The Boards. Seattle, WA, Northwest New Works Festival Mary Riepma Ross Media Arts Center. Lincoln, NE, Visual II Lucky Dragon. Toronto, ON, Still Camera Video Festival Simultan2. Timisoara, Romania, 100 seconds videos Scope. Miami, FL, Cinema-Scope Best of the Best New American Art Union. Portland, OR, The Den The Drake Hotel. Toronto, ON, Fantasy Island 2 Version 06. Chicago, IL, Parallel Cities CARTUNE XPREZ 2006 TOUR (more info) 2005 Projet Mobilivre / Bookmobile Project Version 05. Chicago, IL, Invincible Desire The Guild Theatre. Portland, OR, Take it EZ The Drake Hotel. Toronto, ON, MEDITATCE Booster and Seven. Chicago, IL, Group Show Bibliograph. Montreal, QC, Permanent Collection PDX Film Festival. Portland, OR, Slow Dance Recyttal La Central Powerhouse Gallery. Montreal, QC, Anniversaire Hi-5 Portland Institute for Contemporary Art. Portland, OR, TBA Festival The Andy Warhol Museum. Pittsburgh, PA, Andy Warhol`s Time Capsules 2004 Three Rivers Arts Festival. Pittsburgh, PA, Three Rivers Juried Exhibition Artist Image Resource. Pittsburgh, PA, Open House, Open Studio Space. Pittsburgh, PA, SUB: Cultural, Textual, Liminal Deitch Projects. New York, NY, Riddle of the Sphinx The Andy Warhol Museum. Pittsburgh, PA, AMP 937 Liberty. Pittsburgh, PA, Daydream Nation Future Tenant. Pittsburgh, PA, Mintwood Projet Mobilivre / Bookmobile Project 2003 Projet Mobilivre/Bookmobile Project Project 1877. Pittsburgh, PA, What the Kids Want Federal North Building. Pittsburgh, PA, Easy Does It Mattress Factory. Pittsburgh, PA, Summer of HTMHell Space 1026. Philadelphia, PA, Man I Feel Like a Woman Artist Image Resource. Pittsburgh, PA, AIR Artists at AIR Carnegie Museum of Art. Pittsburgh, PA, CMA Faculty Show Regina Gouger Miller Gallery. Pittsburgh, PA, Comic Realease 2002 521 Gallery. London, UK, Mirror, Mirror: Video Art from the U.S. and Canada Pittsburgh Filmmakers. Pittsburgh, PA, Media/Tonic: 30 Years of Media Arts Regina Gouger Miller Gallery. Pittsburgh, PA, 384 Units The Frame Art Space. Pittsburgh, PA, candy_coated 2001 The Frame Art Space. Pittsburgh, PA, Art Abroad The Marilyn Vignone Gallery. Glastonbury, CT, FASS McConomy Auditorium. Pittsburgh, PA, CMU Film Festival 2000 The Frame Art Space. Pittsburgh, PA, Welcome to the Jungle Ox-Bow Gallery. Saugatuck, MI, Life in the Fast Lane Ellis Gallery. Pittsburgh, PA, Teddy Bear Picnic 1999 Ellis Gallery. Pittsburgh, PA, Forts Mattress Factory. Pittsburgh, PA. Fringe Arts Festival The Frame Art Space. Pittsburgh, PA, Counting the Ways McConomy Auditorium. Pittsburgh, PA, CMU Film Festival Awards and Residencies 2009 Oregon Arts and Culture Council Opportunity Grant 2008 RACC Individual Projects Grant Islands Fold Artist Residency MacDowell Colony Artist Residency 2007 RACC Individual Projects Grant Washington State University DTC Artist Residency 2006 Bemis Center for Contemporary Arts Residency 2005 Vera Heinz Endowment Fellowship The Drake Hotel Artist Residency Virginia Center for the Creative Arts Residency Projet Mobilivre / Bookmobile Project 2004 Three Rivers Arts Festival Award of Distinction Hall Farm Residency 2002 Samuel Rosenberg Art Award 2001 CMU Small Projects Grant Paxton Travel Grant SURG Grant 2000 Samuel Rosenberg Art Award Ox-Bow Residency Fellowship 1999 Douglas Pickering Art Award Education Bachelor of Fine Arts Carnegie Mellon University, Pittsburgh, PA Pittsburgh Filmmakers, Pittsburgh, PA L`Ecole Superieure d`Art d`Aix en Provence, Aix en Provence, France

L'être humain dans un filet, une image paradigmatique pour toute l'œuvre: Laocoon, celui qui mit en garde face au cheval de Troie. En sculpture il est déjà étranglé par le serpent, le serpent le relie à ses fils, ensemble ils forment un monument à l'impuissance. Celui qui mit en garde face au cadeau empoisonné de l'avenir, répète ce que la boîte de Pandore a apporté à l'humanité. L'avenir qui se dessine à partir de notre présent est porteur à parts égales de dangers et d'espoirs. Dans "How Long Is Now", la toile d'araignée apparaît sous différentes formes. C'est le réseau ferroviaire impérial qui propage le colonialisme, ce sont les câbles de données qui reposent au fond des océans entre les continents, ce sont les algorithmes qui dominent le commerce et la bourse, ce sont les systèmes GPS, les logiciels de reconnaissance faciale, les mappemondes déformées. L'être humain y lutte contre sa mortalité, lutte contre le langage, les concepts qui façonnent pensée et action, lutte contre la moralité et contre son expansion dans la technosphère. Le film utilise sans retenue le gisement des images du vingtième siècle, citant avec désinvolture l'histoire de l’image en mouvement et de sa virtualisation progressive. Le plan de l'image se niche parfois à proximité du récit parlé des conférences, puis il élargit l'espace du discours, ajoute des associations et des situations, et se met en réseau avec l'héritage du présent élargi. Depuis quatre ans, je participe à ces événements et ai produit une série de courtes bandes-annonces pour les promouvoir. Ces clips sont des films expérimentaux de 30 secondes, réalisés selon le principe du "stream of consciousness". Avec les archives visuelles créées au fil de ces productions et la possibilité d'utiliser les archives de la HKW, l'idée m’est venue de développer une œuvre longue et complète à partir de ces images. Je voulais créer un espace de possibilités dans lequel les questions sur notre présent pourraient être articulées, au-delà des réponses googlées rapidement.

Michael Busch a étudié les sciences appliquées du théâtre à la Universität Gießen (Allemagne), et les beaux-arts et le cinéma expérimental à la Universität der Künste Berlin (Allemagne). Il réalise des films et des performances filmiques. Il a travaillé comme curateur de films pour la Volksbühne Berlin de 2003 à 2017, et a été professeur de cinéma expérimental à la Universität der Künste Berlin (Allemagne) de 2007 à 2013. Ses œuvres ont été présentées dans divers festivals internationaux de cinéma, notamment à la Berlinale - Forum Expanded, Berlin (Allemagne); au Centre Pompidou, Paris (France); au Musée Reina Sophia, Madrid (Espagne); à la Biennale de São Paulo (Brésil); au Torino International Film Festival, Turin (Italie); à San Francisco (USA); et à Édimbourg (Royaume-Uni).

"Gesichte" is an old fashioned german word, close to "Gesichter", which means "faces", but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. "Gesichte" also appears in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book - in Germany nearly a translation of "facebook" - is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the "book" like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity.

Born in 1965, artist, filmmaker, he studied fine arts at University Of Fine Arts, Berlin 1993-98 and graduated at the class for experimental film and arts of Heinz Emigholz, 1999. From 2006 to 2011 he has been teaching film at Filmakademie Ludwigsburg. From 2007 to 2012 he held a professorship at University Of Fine Arts, Berlin in the "experimental film" class and works as a film music composer, script writer, editing consultant. His own films include WORDS FOR WINDOWS (1996, 15 min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 92 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVENS (2005, 92min,WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010,208min, WP Int. Forum Expanded, Berlinale; GER) ERSTER SCHNEE (2014, 27 min, in postproduction) and the project VISIONS BOOK (2012-2014) Michael Busch lives and works in Berlin.

Michael Busch born. 1965, artist, filmmaker, curator studied fine arts at University Of Fine Arts, Berlin 1993-98 graduated at the class for experimental film and arts of Heinz Emigholz, 1999 since 2007 teaching experimental film at University Of Fine Arts, Berlin (together with Heinz Emigholz) he is a founding member of the Media Theatre Group LUXUS BERLIN (1994-1998) works as a film music composer, script writer, editing consultant, recently for: Philip Gröning, ?Die Grosse Stille? (The Grand Silence, Venedig 2005) Frank Castorf, ?Der Idiot? (The idiot) after Dostojewski, 2006 His own films include A WAY ALONE A LAST (1994, 40min, WP Figueira Da Foz Int Film Festival POR) WORDS FOR WINDOWS (1996, 15min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 24 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVEN (2005, 92min, WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010, 208min. WP Berlin Int. Film Festival , Forum Expanded, GER)

A textscape of words, sentences, script, diary, sketch. Words before images. The film image here is a pure word image, vast, rushing by before meaning emerges, impossible to grab to read. Others are slow, readable, narrate stories about Schrödingers cat, about evaluation of speed of light, about the end of Finnegans Wake. ?Night Now? is the calling for a hyper present tense, a home coming, a self encounter, a self extinction. NIGHT NOW is part of the aleatory film project THE ELECTRIC PARADISE Premiered at the International Forum of Young Cinema at Berlianle 2010, recently shown at the 29th Art Bienal of Sao Paulo and the International Film Festival Sao Paulo.

Michael Busch born. 1965, artist, filmmaker, curator studied fine arts at University Of Fine Arts, Berlin 1993-98 graduated at the class for experimental film and arts of Heinz Emigholz, 1999 since 2007 teaching experimental film at University Of Fine Arts, Berlin (together with Heinz Emigholz) he is a founding member of the Media Theatre Group LUXUS BERLIN (1994-1998) works as a film music composer, script writer, editing consultant, recently for: Philip Gröning, ?Die Grosse Stille? (The Grand Silence, Venedig 2005) Frank Castorf, ?Der Idiot? (The idiot) after Dostojewski, 2006 His own films include A WAY ALONE A LAST (1994, 40min, WP Figueira Da Foz Int Film Festival POR) WORDS FOR WINDOWS (1996, 15min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 24 min, WP Max Ophüls Prize,Saarbrucken, GER) SEVEN HEAVEN (2005, 92min, WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010, 208min. WP Berlin Int. Film Festival , Forum Expanded, GER)

The self-driven collides with the self-driving. This scenario depicts a scene from the gig economy, where a Deliveroo gets hit by a self-driving car, and misses her allocated delivery time. As punishment for underperformance, she is dragged to the underworld, where she faces the judgement of the market. She is sentenced to the `Schuldturm`, a spectral debtor`s prison until she can repay her debt to the economy.

John Butler CV Born Dublin 1959 1977-1981 Diploma in Drawing and Painting (1981) Duncan of Jordanstone College of Art, Dundee. 1983- 1984 Community artist, Arts Action, Dundee 1986-1987 Illustrator and display designer, Dundee botanic gardens. 1988-1989 Post graduate diploma in Electronic Imaging (highly commended) at Duncan of Jordanstone College of Art, Dundee. 1989-1995 Television graphic designer at Scope Picture Productions/Edit 123. 1995-1997 3D designer Glasgow Herald internet division . 1997-2017 Freelance 3D animator. 2001-2005 Part time lecturer 3d animation and multimedia, James Watt College Selected works World Peace Thru Free Trade 1989 Leisure Society 1990 The Dream of Freedom 1994 Zerotime 2003 Human Trial 2005 The Ethical Governor 2010 Refusnik 2013 The Utility Curve 2015 Children of the Null 2016 Unparent 2017 The Dependency Loop 2018 Gallery Shows V-Topia Tramway, Glasgow1994 ISEA 98 Manchester Science Museum 1998 Lovebytes, Sheffield 2002 Niet Normaal, Amsterdam2009 Gaming in Waziristan, Beaconsfield, London2011 Artificial Indifference, Glasgow University2012 Exchange Rates, Bushwick2014 Touching the Void, Crate Art Centre Margate 2017 Siren Servers. Sonica Glassgow 2017 Broadcast Works World Peace BBC2 (The Dazzling Image) 1990 Leisure Society BBC 2 (Not Necessarily) 1991 B-Creatures, Channel 4 2000 Workgroup Alpha, E4 2001 Festivals Edinburgh Film Festival Impakt Festival ( Utrecht) Transmediale (Berlin) Videonale (Bonn) Vipfilm (Berlin) Sarajevo Film Festival Raindance( London) EMAF (Osnabruk) PKD Film Festival (New York The Solid State Cinema Supernova, Denver Dokfest Kassel

Chromaphilia is an abnormal mania: an extreme obsession of colors. Color as drug leads at least to a transitional loss of consciousness. In desperate cases it provokes blindness or thoughtlessness - an end in delirium or dementia.

Sandra Bühler is a Filmmaker / Designer / New Media Artist. Born in Switzerland she made an apprenticeship in a Swiss Graphic Atelier and graduated 2006 as dipl. Graphic Designer. She moved to Berlin and studied "Visual Communication" and "New Media Art/Film/Video" at the University of the Arts Berlin (UdK). 2009 her studies continued with a scholarship from the Musashino Art University in Tokyo (MAU). Back in Berlin she made her diploma in «Design / Visual Communication» and in «Experimental Film / Art + Media» at the University of the Arts, Berlin. 2011 she received a scholarship for the Masterprogramm «Film/Video/Media art» at the California Institute of the Arts (Calarts). Currently she works for Partizan Berlin.

Après des recherches longues et pénibles, une image a commencé à émerger. En parcourant un grand nombre d?archives, Erik Bünger a découvert de plus en plus d?interviews dans lesquels on ne comprenait pas clairement à qui la personne devant la caméra faisait référence. Et pourtant ils parlaient tous de Lui. Parfois, les témoignages sur Lui étaient en accord avec ce que disaient les autres et parfois ils semblaient se contredire. Néanmoins, il y avait quelque chose dans leur ton et dans la manière qu?ils avaient de bouger la tête qui donnait à Erik Bünger un sentiment de cohérence dans leur vécu. Parfois, il avait l?impression de apercevoir une silhouette qui se reflétait dans leurs yeux. ?Gospels? est un travail qui n?a pas vraiment de limite dans la durée. A mesure qu?on trouvera matière à continuer, de nouveaux chapitres seront ajoutés, complétant et compliquant lentement le portrait. C?est un canon dans la manière de le réaliser. Le projet a débuté lors d?une résidence de deux mois au Werkleitz Gesellschaft in Halle en Allemagne en 2006.

Erik Bünger est un artiste suédois, un compositeur, un musicien et un écrivain qui vit à Berlin. Son travail consiste à re-contextualiser et re-mixer les media ? qui sont des musiques et des films qu?il s?est approprié ? lors de performances, d?installations et de projets Internet. Il a obtenu un MFA (Master of Fine Art) en composition électroacoustique à la Royal University College de Stockholm et de l?Universität der Künste de Berlin. Il a effectué ses performances et exposé dans toute l?Europe, ainsi qu?en Amérique du Sud et du Nord. En 2003, il a créé, ?Let them sing it for you?, un projet d?art interactif sur Internet qui a attiré jusqu?ici quatre millions d?utilisateurs dans le monde et qui a reçu deux prix internationaux.

"50,000,000 CAN'T BE WRONG" montre une immense foule de gens dont l'attente et le désespoir se lisent sur l'expression de leurs visages et à travers leurs gestes. L'objet de leur attention, leur idole est invisible. Il est hors-champ, caché aux yeux du spectateur. Toute trace de lui a été effacée de la pellicule. Reste son reflet dans leurs visages, son image négative.

Susanne Bürner est en 1970 à Ellwangen/Jagst. Elle a étudié les arts médiatiques à la Hochschule für Gestaltung à Karlsruhe et obtint son diplôme en 1998. Elle vit et travaille actuellement à Berlin. Son travail a été présenté à diverses occasions, dans un certain nombre de lieux. Parmi les présentations en solo : ?finistère?, 2005, Galerie Giti Nourbakhsch, Berlin; ?Dissolve?, 2002, Galerie Giti Nourbakhsch, Berlin; ?Räume?, 2001, Akademie Schloss Solitude, Stuttgart. Parmi les présentations en groupe : "I?m a Future Melancholic", tank.tv, 2007, Tate Modern, Londres; "Klinik - eine Pathologie der Gesten", 2006, Théâtree Hebbel, Berlin. Elle a obtenu un certain nombre de prix et de bourses, parmi les plus récentes : bourse du programme berlinois en faveur des artistes féminines, en 2006; artiste en résidence à la Villa Arson, Nice, France, en 2006; la bourse du Kunstfonds de Bonn, Allemagne, en 2004.

Hohe Kiefer 4 (2005) 5:37 min. C'est le petit matin. Un loup se met en route; il quitte résolument la forêt recouverte de neige, traverse en courant des prairies pour arriver à un lotissement de banlieue. On ne connaît pas la raison de son voyage. Il entre dans une maison, c'est la chambre. Un couple y est allongé et dort, il y a un jouet sur le sol, mais on ne voit aucun enfant. Le loup reste dans la pièce, flaire le jouet et reste un moment couché dans une attitude de garde avant de partir par la porte. La femme se réveille. Hohe Kiefer 4 est l'histoire d'une rencontre qui se déroule à plusieurs niveaux de présence.

1970 né à Ellwangen/Jagst 1993 - 1998 études d'art des médias à la Hochschule für Gestaltung à Karlsruhe 1998 Diplôme Expositions individuelles 2005 finistère, Galerie Giti Nourbakhsch, Berlin Songs from out there, Sassa Trülzsch, Berlin 2002 Dissolve, Galerie Giti Nourbakhsch, Berlin 2001 Galerie Borgmann Nathusius, Cologne (avec Gary Ward) Räume, Akademie Schloss Solitude, Stuttgart 1999 Galerie K & S Berlin (avec Daniel Roth) Photographie, Galerie Karlheinz Meyer, Karlsruhe (avec Barbara Trautmann et Günther Förg) 2000 Trees, Galerie Karlheinz Meyer, Karlsruhe (avec Candida Höfer) Trees, Graduate Studios UCLA Culver City, Los Angeles, USA 1997 Galerie Karlheinz Meyer, Karlsruhe expositions collectives 2005 A Haunting, Castlefield Gallery, Manchester, (DVD, catalogue) Placements, /Galerie/Store/52°31?52??,13°22?55??/, curateur Andrew Cannon Acid Rain, Glassbox, Paris, curateur Vincent Honoré 10. Videonale Bonn, Kunstmuseum, Bonn (DVD, catalogue) Radiodays, CTP, de Appel, Amsterdam 2004 kurzdavordanach, SK-Kulturstiftung Cologne (catalogue) Missing Time, Art Centre Hong Kong, video programm curateur Laurent Grasso Playlist, Palais de Tokyo, Paris (catalogue) Zwischenwelten, Oktokogon, Dresden, curatrice Constanze von Marlin 2002 Geographies #3, Galerie Chantal Crousel, Paris Karl Schmidt-Rottluff-Stipendiaten, Kunsthalle Düsseldorf (catalogue) Night Effect, Carlo?s Depot, Berlin, curated by Eva Svennung (Toasting Agency) Passages, Art3 Valence, (F) (avec Rut Blees Luxemburg et Wendelien van Oldenborgh) Galerie Giti Nourbakhsch, Berlin Akademie Schloss Solitude, Stuttgart 2002 A Need of Realism, Solitude in Schloss Ujazdowski, Warszawa, Poland (catalogue) Golden Week, Kodama Gallery, Osaka, Japan, curated by Eva Svennung (Toasting Agency), (Poster) 2001 Not At Home, Römerstr. 2, Stuttgart, curateurs Gary Ward et Susanne Bürner Circles No. 5, Montana Sacra, ZKM Karlsruhe, curateur Christoph Keller (catalogue) CamoShow, Museum Wiesbaden, curateurs Alexis Vaillant et Léonor Nuridsany (catalogue) Papier, Galerie Borgmann Nathusius, Cologne 2000 nuit de l'at à la galerie municipale de Stuttgart, participtation au kiosk project de Laura Martin presentation video à la Galerie Giti Nourbakhsch, Berlin 1999 Insight Out, Kunstraum Innsbruck, Autriche, Kunsthaus de Hambourg, Kunsthaus Baselland, Suisse, (catalogue) 1998 Galerie Karlheinz Meyer, Karlsruhe Gang Bang, Galerie Margit Haupt, Karlsruhe, curateur Christoph Keller bourses et subventions 2006 Villa Arson, Nice, France, résidence 2006 Los Volcanes, Colima, Mexique, résidence 2004 Kunstfonds Bonn, bourse 2003 Karl Schmidt-Rottluff, bourse 2003 Art 3, résidence attribuée par le land de Bade-Wurtemberg et la Région Rhône-Alpes à Valence, France 2000 - 2001 résidence à l' Akademie Schloss Solitude Stuttgart 1998 - 1999 séjour d'études programme Fine Arts à l' UCLA Los Angeles, Californie, USA (bourse du Studienstiftung des deutschen Volkes) 1997 - 1999 bourse du Studienstiftung des deutschen Volkes, Bonn travail pour des collections publiques Deutsche Bank DG-Bank Staatsgalerie Stuttgart Thyssen-Bornemisza Contemporary Art Foundation ZKM Karksruhe ARTICLES 2005 Vincent Honoré sur Susanne Bürner, Contemporary Magazine #71 2004 Dominic Eichler sur Susanne Bürner, Frieze art Fair Yearbook 04/05 2003 Catherine Francblin, ?geographies #3?, art press #298, p. 84 Marie de Brugerolle, ?passages at art3 (revue)?, artpress, # 292, Juillet-Août, pp. 76-77 Eva Svennung, ?Susanne aime Smoke Gets in Your Eyes?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main Johan Hartle, ?Image Events?, in: ?Vanishing Points. Susanne Bürner?, art3, Valence & Revolver, Francfort sur le Main 2002 Miriam Bers sur Susanne Bürner, tema celeste, issue 93, Sept.-Oct., p. 100 PUBLICATIONS Vanishing Points, Art 3, Valence and Revolver Frankfurt, Jednoczensnie (simultaniously), Zamek Ujazdowski, Varsovie et Revolver, Francfort zusaen collaboration avec Daniel Roth, Gregor Sander et Gary Ward Fog Book, Revolver Francfort Catalogue Schnidt-Rottluff Bourse FILMOGRAPHIE 1999 trees, dv, installation à plusieurs canaux, durée variable 2000 Sprinkler, dv, série vidéo , en boucle, durée variable Nebelfelder, dv, série vidéo, en boucle, durée variable 2001 Fading, dv, installation multicanaux, durée variable 2001/2002 Dissolve, dv, projection vidéo ,en boucle, 18 min. 2003 ohne Titel (fr= sans titre), dv, 5:30 min ohne Titel 2, dv, 3:30 min. 2004 ohne Titel 3, dv, 6:30 min. montauk, dv, loop, 6:30 min 2005 Hohe Kiefer 4, HD, 5:37 min. limbo, DV, en boucle, 0:42 min. finistère, DV, en boucle, 5:40 min