Catalogue > Liste par artiste

Les premières tentatives de cartographier le delta du Mississippi remontent au début du XVIIIe siècle. Milieu incontrôlable, fragile et mouvant en soi, il est depuis constamment transformé pour l'exploitation de ses ressources. Navigant entre les temps et les espaces, "Sweat" nous immerge progressivement entre les lignes des cartes, dans la part insubordonnée et fluctuante de ce territoire, en compagnie d'êtres vivants qui le peuplent.

Elsa Brès est diplômée du Fresnoy - Studio national des arts contemporains, Tourcoing (France), et de l'École Nationale Supérieure d'Architecture de Paris-Belleville (France), où elle a enseigné la théorie de l'architecture et du paysage. Ses films et installations s'attachent à des forces de résistance dans les paysages contemporains, et ont été montrés dans des festivals et expositions, en France et à l'étranger, notamment au FID Marseille (France); à 25FPS, Zagreb (Croatie); au CRAC – Centre régional d’art contemporain Occitanie, Sète (France); au Palais de Tokyo, Paris (France); à la Transmediale, Berlin (Allemagne). Elle vit à Bréau, dans les Cévennes (France).

A trace of regularly ordered mounds of earth. In the twilight a dump truck is being loaded. A thick veil of mist hangs over the tops of the trees. Dark earth is excavated, loaded and transported off the scenery. In Dark Matter (2020), via the situative arrangement of different picture elements a visual friction surface is created, which is shaped by the figurations of a post-apocalyptic landscape. The images are determined by the processes of extracting raw materials. Without the mineral resources from the numerous diamond and gold mines in the so-called Russian Federation subject Yakutia, the Soviet Union would never have been able to exist until the 1990s. Technology and ideology go hand in hand and leave their mark. Military and economic efforts to secure power are inscribed in this landscape. The extraction of raw materials and the exploitation of nature show their planned economic and geopolitical consequences, which make up the character of the “subjects of the Federation”. Their designation as “subjects” was introduced in the USSR in order to equip and administer different categories of territorial units with different degrees of autonomy. Technological progress and ideological utopias constitute a processual and changeful network of relationships between subject definition and state apparatus.

Viktor Brim was born in 1987 in Tashkent, Uzbekistan. From 2009 to 2011 he studied media art at the HGB in Leipzig, began directing studies at the Filmuniversity Babelsberg KONRAD WOLF and completed a postgraduate course at the Academy of Media Arts in Cologne, where he worked not only with fictional forms but also increasingly with documentary approaches.

In Becoming Unreal the camera floats through urban mega-projects of Istanbul like modern mosques, the new airport and various hotel buildings. These spaces are marked by an emptiness, as they embody more of a trophy, a sculpture or an object and have no longer anything to do with the human body. A ghostly absence characterizes the buildings. They are like an immaculate representative facade, one of concealment and hiding. A facade made up of complicated shell companies and offshore providers.

Viktor Brim (born 1987 in Tashkent, Uzbekistan) is an artist and filmmaker. In his work he deals with the relationship between cinematic spaces, urban phenomena and the concept of power. His focus is on the physical manifestation of power structures and their territorial extension. Most recently, his works have been presented at Casino Luxembourg - Forum d'art contemporain, Eye Filmmuseum and Max Ernst Museum Brühl.

A worker and an ambient artist, stuck in loops of work, creation and isolation, have two strained social encounters. There is an illuminated patch of grass surrounded by darkness.

Jacob Brinkworth is a Boorloo/Perth-based filmmaker and academic, currently doing his doctoral studies. In 2022, he completed his Bachelor of Arts Honours with his practice-led research project "Night Walks: An Exploration of Time as a Commodity Through Transcendental Cinema". He has since premiered the practical output of the project at the 27th Revelation Perth International Film Festival. It has also screened internationally at the Experimental Fiction Film Festival and further nationally at Sightlines Festival and moviejuice. He is a member of the Australian Director's Guild.

Ondrej Brody et Kristofer Paetau forment un couple artistique néo-dadaïste qui recherche les aspects grotesques que l?on peut trouver dans le monde artistique institutionnalisé et dans la production artistique elle-même. Leur stratégie est claire et presque embarrassante de simplicité mais c?est apparemment leur point fort. Les problèmes qu?ils soulèvent et les cibles qu?ils choisissent sont également fondamentaux : la morale quotidienne, pour ne pas dire les codes de conduite sous forme de livrets, sont leur source de vocabulaire sous forme de sujet contenu. Ils mènent avant tout leur enquête en prenant en compte la psychologie du comportement lorsqu?il est influencé ou provoqué par les aspects extérieurs de la vie et de la politique. Leur travail oscille entre l?utilisation et l?abus, la manipulation poussée à l?extrême et l?enregistrement froid et intouchable de la réalité absurde, il est véritablement critique et tente sincèrement de mettre à jour les pathologies et les aspects normaux des relations humaines. Leurs actions sont toujours bien structurées et la mise en scène est pratiquement parfaite, précise et calculée, froide et émotionnellement troublante, audacieuse et vicieuse, elle nous pénètre de part en part. Il manque peut-être seulement un équilibre plus soigné : le scandale désiré utilisé de la bonne manière pour mettre l?accent sur le déclin de certaines valeurs et leur corruption soudaine.

Ondrej Brody est né à Prague, en République Tchèque en 1980, il vit entre Anvers, Berlin et Prague. Lorsqu'il était enfant il a vécu à Guayaquil en Equateur où il est resté jusqu'en 1999. En 2000 il a commencé ses études d'art à l'Instituto Superior de Arte in Havana à Cuba. En 2001, il a demandé son transfert à l'Academy of Fine Arts de Prague où il a obtenu son diplôme en 2005. C'est un artiste visuel qui travaille principalement avec la vidéo et fait des interventions/actions. parmi les expositions qu'il a récemment effectué figurent entre autres la Jiri Svestka Gallery à Prague (2006); le Kunsthallen Brandts à Odense, (2006); le Sammlung Essl à Klosterneuburg/Vienne, (2005); et Jack the Pelican à New York City, (2006). il a notamment reçu es prix suivants : the Essl Award, Sammlung Essl à Vienne, en Autriche (2205), et the International Prize for Performance, Galeria Civica à Trente, en Italie (2006). Kristofer Paetau est né en 1972 à Borga en Finlande. Il a étudié différentes disciplines sur plusieurs années. En 2005-2006, il était à l'Institute for Fine Arts (HISK) à Anvers, en Belgique; en 2000-2001, il a fait une année à l'Internaional ERBAN de Nantes en France; en 1999-2000 il a obtenu un Meisterschüler Diploma en suivant les cours de John M. Armleder à la Hochschule für Bildende Künste (HBK) à Braunschweig, en Allemagne; en 1999, il a obtenu un master en études artistiques à l'Ecole Nationale Supérieure d'Arts de Cergy, en France; en 1993-1994, il a étudié l'histoire de l'art à l'Ecole du Louvre de Paris, en France; et enfin en 1991-1992, il a étudié l'esthétique et le français à l'université d'Helsinki en Finlande. son expérience artistique comprend différents types de projets et de travaux. En 2004, il a organisé le projet "St. Stephanus Church" avec Torsten Prothman à Berlin et Re-Institutionalize #03. Il a également organisé une exposition personnelle appelée "Antigrafittihiphop" qui était une installation accompagnée d'une performance chorégraphique à la Ekaitz 5050 Gallery à Berlin. En 2005, il a participé à une exposition collective appelée "Boundless", il a apporté sa participation au travail de Jan Christensen au Stenersenmuseet à Oslo, en Norvège (catalogue). Il a également effectué une performance intitulée "Belgian Air Guitar Champion", In/Out Space, Open studio, Higher Institute of Fine Arts à Anvers, en Belgique. En 2006, il s'est occupé du projet "Super-Flux" e-mail service avec Ondrej Brody. Il s'occupe avec l'écrivain Rüdiger Heinze d'un projet e-mail appelé "Picturepeople", ainsi que d'un concurrent de courte durée pour e-Flux.

Broersen and Lukacs construct a replica of Bialowieza primeval forest. In this virtual forest is the avatar of Iranian operasinger Shahram Yazdani, who performs his version of Nat King Cole's 1948 hitsong Nature Boy, whose melody originated in Bialowieza. In Forest on Location, nature is viewed as a mirror, reflecting our own perception.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited for instance at the Biennale of Sydney (Australia), Rencontres internationales de la photographie d'Arles (France), Wuzhen Biennial Now Is The Time (China), Stedelijk Museum Amsterdam (Netherlands), FOAM Amsterdam (Netherlands), Antwerp contemporary art museum MUHKA (Belgium), Centre Pompidou (France), Shanghai World Expo (China), Kröller Müller (Netherlands)) and Casa Enscendida (Spain). Their films have been shown at various festivals including Oberhausen International Film Festival (Germany), LAForum (US), Kassel Dokumentar und Filmfestival (Germany), Rencontres Internationales Paris/Berlin (France/Germany), the New York International Film Festival (US), and Rotterdam International Film Festival and Amsterdam International Documentary Film Festival. Their film "Establishing Eden" was included in the 2016 Tiger Awards Competition for Short Films in Rotterdam Festival. In 2015, Stedelijk Museum Amsterdam acquired the site-specific work "Ruins in Reverse" (2015), specially made for the museum. Broersen & Lukács are represented by Galerie AKINCI, Amsterdam.

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.

Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024

East of the Sun, West of the Moon is the title of a Nordic fairytale about a heroine who leads a cursed prince, turned into a white bear, to a place that lies East of the Sun, West of the Moon. This lovestory, in which the fate of humans and animals are intrinsically linked, is later on used in the song with the same name, most famously interpreted by Frank Sinatra (1940). During a residency in Sweden (at Hybrida), a centuries old iron industry wasteland that turned into endless forests where the wild wolves roam, Broersen and Lukács conceived n a collaboration with Smári Róbertsson a new version of East of the Sun, West of the Moon. They transformed Sinatra’s beguiling song into a sometimes desperate, growling plea for love, embodied by a white wolf. Spinning in circles, the hybrid wolfman(creature) is torn between the natural and the virtual, the animal and the man inside him.

Margit Lukács and Persijn Broersen work and live in Amsterdam (NL). They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie voor Beeldende Kunsten in Amsterdam. Their work, consisting of layered projections, digital animations and spatial installations, has been exhibited by institutions and organisations worldwide, among others at Remix Nature/Cultural City of Europe ESCH (LX), HEK, Basel (CH), WRO Media Biennale, Wroclaw (PL), the Biennale of Sydney (AU), Le Lieu Unique, Nantes (FR), LUMA Arles (FR), Wuzhen Biennial Now Is The Time(CN), U2/UCCA Beijing (CN), Stedelijk Museum Amsterdam (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Kröller Müller (NL) and ERES Foundation Munchen (DE). Their films have been shown at a.o. ARTE TV,  Oberhausen Film Fest (DE), LAForum (US), Kassel Dokumentar und Filmfestival (DE), Videomedeja, NoviSad (RS), Oberhausen Film Fest (DE), LAForum (US), Rencontres Internationales Paris Berlin@Louvre Paris and Haus der Kulturen der Welt Berlin, the NewYork Film Festival (US), and the domestic festivals IDFA and IFFR.

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like ‘Avatar’ (James Cameron, 2009) and the film series ‘Lord of the Rings’ (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s. Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society. With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

The copy-paste mentality of the media and its audience is reflected in the film Beyond Sunset & Sunrise; a mosaic-film in which Broersen & Lukács connect scripts and characters from classic Hollywood movies such as ?Sunset Boulevard?, ?Badlands?, ?Wild at Heart?, ?The Last Picture Show? and ?All About Eve?, a range of films in which the protagonists struggle with their aspirations. Aspirations that eventually turn destructive. Shot entirely in Hollywood, this fictional network of a dream chasing community merges with the reality facing the ambitious actors; a no-man?s land between Los Angeles and Hollywood. A place where dreams define reality, and the dream is defined by reality.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental features of today`s society. The work of Broersen & Lukács is characterized by a quest for the sources of contemporary visual culture. With intricate layers of depersonalization, re-mediation and re-interpretation they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary society. Broersen & Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Centre Pompidou Paris (FR), MUHKA Gent (BE), Coca in Torun (PL), Kunsthalle Tallinn (EST) and the Stedelijk Museum Amsterdam. Their films have been shown at film festivals worldwide including LAForum in Los Angeles (USA), Experimenta Media Arts Biennale (AUS), Kassel Dokumentar Film Festival (DE), Paris Rencontres (FR, ESP, DE), International Film Festival Rotterdam and the IDFA in Amsterdam (NL). Broersen & Lukács have been invited to participate in the 19th Sydney Biennale, 2014.

Mastering Bambi Walt Disney`s 1942 classic animation film `Bambi` is well known for its distinct main characters ? a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his `Bambi`. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilization and technology. The forest, therefore, is depicted as a `magic well`, the ultimate purifying `frontier`, where the inhabitants peacefully coexist. The original 1924 Austrian novel `Bambi, A Life in the Woods` by Felix Salten was banned in 1936 by Adolf Hitler. The novel shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death. Broersen and Lukács recreate the model of Disney`s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They`ve reconstructed Bambi`s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Persijn Broersen & Margit Lukacs are artists living and working in Amsterdam and Paris. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the ornamental nature of today`s society. With layers of depersonalization, re-mediation and re-imagination they demonstrate how reality, (mass)media and fiction are strongly intertwined in contemporary culture. This results in a body of work that hovers between ornament and perspective, between a journey and a cul-de-sac. Their work is shown in filmfestivals, museums and galleries and broadcasted on TV worldwide. Recent exhibitions/screenings include: Casa Encendida, Madrid / Centre Pompidou, Paris/ Stedelijk Museum Amsterdam/ Oberhausen Filmfest, Germany and more

Tous les jours, les journaux télévisés et autres images télé se succèdent dans un flot sans fin qui engourdi le spectateur. Ce dernier, comme hypnotisé, ne fait rien d?autre que regarder et regarder encore : zappant constamment d?une image à une autre, d?une chaîne à une autre dans un flot régulier ; il n?y a plus de d?immobilité. L?attention est fragmentaire, l?identification et la réflexion sont impossibles, le monde est en perpétuel mouvement et des images, aussi bien anciennes que récentes, se présentent sans arrêt dans des endroits différents : une ville brûle derrière une montagne ; un soldat pointe son arme ; un fille hurle ; une plage (détruite) se trouve juste à côté de l?immeuble dans lequel a lieu une conférence des Nations Unies.

Margit Lukács est née en 1973 à Amsterdam, aux Pays Bas et Persijn Broersen est également né aux Pays Bas, à Delft en 1974. Ils vivent et travaillent actuellement à Amsterdam. Ils ont tous les deux étudié le Graphic Design à l?Académie Gerrit Rietveld à Amsterdam de 1994 à 1998 et ont effectué un Master en design et beaux-arts à l?Institut Sandberg d?Amsterdam de 1998 à 2001. Leur travail a été exposé à travers les Pays Bas et dans plusieurs autres pays comme la Chine, l?Inde et le Japon et ils ont participé à l?International Artists Studio Program de Stockholm en Suède en 2005. Broersen et Lukács créent des vidéos dans lesquelles ils utilisent les images de différentes manières en combinant des scènes qu?ils ont filmé eux-mêmes, des images de reportages d?information de la télévision qu?ils se sont appropriées et des segments d?animations numériques, pour créer des montages fluides. Certaines de leurs ?uvres sont narratives et semblent presque autobiographiques alors que d?autres refusent précisément de présenter un récit cohérent dans le but de critiquer la manière qu?ont les media de rendre impossible la réflexion du spectateur sur les images qu?ils présentent. Les paysages imaginaires utopiques et dystopiques agissent de différentes manières chez Broersen and Lukács et montrent comment les différents récits présentés par les principaux media et la culture générale finissent par constituer des mondes à part entière pour les personne qui les absorbent.

David Brognon & Stéphanie Rollin ont représenté l’abandon de l'activité et l’interruption brutale du temps qui en découle, par des images de l’usine désertée, d’horloges figées, et des enfants des travailleurs cherchant un nouveau lieu de transmission.

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

Debout devant une fene?tre, un jeune garc?on, refait me?thodiquement le me?me geste : observer son ombre porte?e dessine?e par le soleil, placer une bille de verre dans la ligne de partage entre la pe?nombre et la lumie?re, au point limite ou? son corps s’esquisse. Quelques billes aligne?es sugge?rent la re?pe?tition de ce rituel solitaire mois apre?s mois, anne?e apre?s anne?e. Ce geste simple offre une mesure litte?rale et applique?e de l’e?coulement du temps, une sorte de gnomon archai?que et incarne?. Temps cosmique versus temps de la vie. Entre jeu d’enfant et premie?re gravite? ne?e d’une conscience du passage du temps, ce geste re?pe?te? conserve sa poe?sie et son myste?re. L’enfant tente-t-il d’enrayer l’inexorable course du temps par cette limite de?risoire pose?e sur sa silhouette ? Souhaite-t-il, tel un petit poucet signifierchaque e?tape de son parcours de vie pour mieux la rappeler a? sa me?moire dans le futur ou ge?ne?rer son propre re?cit d’anticipation ? Le film esquisse un parcours initiatique, une sorte de parabole sobre et sublime sur notre propre temporalite? et la vanite? de nos actions.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg, vivent et travaillent à Paris et Luxembourg. Lauréats en 2013 du Best Solo Show à Art Brussels et finalistes en 2015 du Prix Fondation Entreprise Ricard à Paris, David Brognon et Stéphanie Rollin manipulent ainsi un matériau sociétal brut, souvent marginal, dont les motifs récurrents sont l’enfermement, l’attente et le contrôle. Des systèmes de confinement qu’ils confrontent à leurs propres systèmes de réfraction de la réalité. Avec Fate will Tear us Apart, les lignes de destinées recueillies dans la paume de consommateurs de drogues dures irradient les murs dans un éclair de néon. Le duo capte des étincelles avec des dispositifs qui mettent en tension permanente l’invisible et la lumière, l’intangible et le physique. Avec Cosmographia (Gorée Island), ils réalisent une pièce folle et monumentale qui archive physiquement la réalité de l’île: centimètre par centimètre, pendant 6 jours, les 2,4km du tracé de l’île sont décalqués sur papier. Leurs travaux font partis de plusieurs collections publiques : The Israel Museum - Jerusalem / MAC’S - Grand-Hornu, Belgium / Collection MUDAM, Luxembourg / FRAC (Alsace, Poitou-Charentes, Lorraine), France, ....

Lancé dans une course poursuite avec le soleil initiée en 2012 dans « The Most Beautiful Attempt » Anton, 25 ans maintenant, pousse toujours inlassablement des cristaux de sel pour les tenir dans la lumière.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg (L), vivent et travaillent à Paris et Luxembourg. Les deux artistes démarrent leur collaboration en 2006, après leur rencontre au MUDAM de Luxembourg. Ensemble, ils développent un travail singulier (installations, sculptures-objets, vidéos, performances, photos), dont l’humain est le matériau principal et la rencontre le moteur. A partir de situations réelles et le plus souvent complexes, ils donnent corps à l’expérience du temps, de la durée ou de l’attente, en prise directe avec la matérialité d’un territoire et de ses limites – en particulier dans le contexte de situations d’enfermement. Attentifs à la marge plutôt qu’au centre, les artistes s’intéressent aux interstices flous où la société cantonne celles et ceux qu’elle marginalise ou invisibilise. « Notre univers, c’est la périphérie, c’est cet espace-temps qu’on ne veut pas voir ».

Debout devant une fene?tre, un jeune garc?on, refait me?thodiquement le me?me geste : observer son ombre porte?e dessine?e par le soleil, placer une bille de verre dans la ligne de partage entre la pe?nombre et la lumie?re, au point limite ou? son corps s’esquisse. Quelques billes aligne?es sugge?rent la re?pe?tition de ce rituel solitaire mois apre?s mois, anne?e apre?s anne?e. Ce geste simple offre une mesure litte?rale et applique?e de l’e?coulement du temps, une sorte de gnomon archai?que et incarne?. Temps cosmique versus temps de la vie. Entre jeu d’enfant et premie?re gravite? ne?e d’une conscience du passage du temps, ce geste re?pe?te? conserve sa poe?sie et son myste?re. L’enfant tente-t-il d’enrayer l’inexorable course du temps par cette limite de?risoire pose?e sur sa silhouette ? Souhaite-t-il, tel un petit poucet signifierchaque e?tape de son parcours de vie pour mieux la rappeler a? sa me?moire dans le futur ou ge?ne?rer son propre re?cit d’anticipation ? Le film esquisse un parcours initiatique, une sorte de parabole sobre et sublime sur notre propre temporalite? et la vanite? de nos actions.

David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg, vivent et travaillent à Paris et Luxembourg. Lauréats en 2013 du Best Solo Show à Art Brussels et finalistes en 2015 du Prix Fondation Entreprise Ricard à Paris, David Brognon et Stéphanie Rollin manipulent ainsi un matériau sociétal brut, souvent marginal, dont les motifs récurrents sont l’enfermement, l’attente et le contrôle. Des systèmes de confinement qu’ils confrontent à leurs propres systèmes de réfraction de la réalité. Avec Fate will Tear us Apart, les lignes de destinées recueillies dans la paume de consommateurs de drogues dures irradient les murs dans un éclair de néon. Le duo capte des étincelles avec des dispositifs qui mettent en tension permanente l’invisible et la lumière, l’intangible et le physique. Avec Cosmographia (Gorée Island), ils réalisent une pièce folle et monumentale qui archive physiquement la réalité de l’île: centimètre par centimètre, pendant 6 jours, les 2,4km du tracé de l’île sont décalqués sur papier. Leurs travaux font partis de plusieurs collections publiques : The Israel Museum - Jerusalem / MAC’S - Grand-Hornu, Belgium / Collection MUDAM, Luxembourg / FRAC (Alsace, Poitou-Charentes, Lorraine), France, ....

Set (2024) Digital video, color, sound, 9.5 minutes A pandemonium of parrots at sundown

Madison Brookshire lives in Los Angeles, where he makes films, paintings, and performances. His work invites viewers to become aware of perceptual processes and the sensuous experience of time. He often works at the edges of disciplines, frequently collaborating with musicians and composers, including LCollective, Laura Steenberge, Mark So, and Tashi Wada. His awards include being named a 2023 Guggenheim Fellow in Fine Arts, an ARC grant from the Center for Cultural Innovation, a Rema Hort Mann Foundation Emerging Artist Grant, and being an Artist in Residence at the Echo Park Film Center and the Hammer Museum.

b0mb est une vidéo générative en ligne, différente à chaque visionnage et accessible via un site web dédié. Avec un rythme intense, elle présente un montage de plusieurs centaines d’images de toute nature présentes sur internet, défilant sur une bande son musicale où l’on entend la voix de Gregory Corso lisant son poème Bomb (1958). Déclaration d’amour à la plus terrible des technologies et métaphore de la nature autodestructrice de l’homme, le poème comporte une grande diversité de champs lexicaux lui conférant une dimension presque universelle. Figure de la Beat Generation, Corso cherche à produire ici une poésie où les phrases seraient absentes de perspective, construisant son texte via une juxtaposition de mots-clés les uns "contre" les autres. A partir du poème, les artistes ont alors effectué un travail de réduction d’écriture, de filtrage et d’interprétation, pour traduire son contenu en requêtes pour moteur de recherche tel que Google Image. Chaque image visible dans b0mb provient donc automatiquement du résultat d’une de ces requêtes, sélectionnée selon des algorithmes de popularité, et s’affiche de manière synchronisée avec le texte énoncé, par un montage au chemin de fer prédéfini. Si la durée et le son restent fixes, les images sont renouvelées à chaque visionnage, évoluant peu à peu dans le temps, au fil de l’actualité. La pièce se comporte telle un protocole automatique en ligne, puisant dans son environnement des visuels pour les donner à voir sous un autre jour le temps d’un instant. De par la grande diversité de sujets abordés dans le poème et la nature hétérogène des images (photographies amateur, publicités, cliparts, presse, différences de définition...), l’œuvre donne donc à voir une sorte d’instantané de la culture visuelle d’Internet. Par un enchaînement effréné d’images indifféremment anodines, belles ou terribles, elles rendent aussi compte de la violence qui peut s’en dégager.

Nés en 1984 et 1982 en France, Émilie Brout & Maxime Marion vivent et travaillent à Paris. Après des études à l’ENSA Nancy et l’ESA Aix-en-Provence, ils ont intégré deux ans le laboratoire de recherche EnsadLab de l’Ecole Nationale Supérieure des Arts Décoratifs de Paris, où a débuté leur collaboration. Leur travail a été lauréat du prix de la fondation François Schneider, Wattwiller et du prix du public Sciences Po pour l’art contemporain, Paris. Il a été soutenu par la Fondation des Artistes, la SCAM et le CNC, et fait notamment partie des collections des FRAC Ile-de-France, Aquitaine et Poitou-Charentes, de la CDAC Seine-Saint-Denis et de collections privées internationales (Alain Servais et de Goldschmidt, Bruxelles ; Plancius Collection, Amsterdam, Jonathon Carroll, Londres...). Il a été présenté en France et à l’étranger : MAC VAL, Vitry-sur-Seine ; Cité de la céramique, Sèvres ; IAC Villeurbanne ; Palais de Tokyo, Paris ; FRAC Haute-Normandie, Rouen ; Base sous-marine de Bordeaux ; 5th Moscow Biennale for Young Art ; Museum of Modern and Contemporary Art, Rijeka ; Carroll/Fletcher, Londres ; OCAT Shenzhen ; Daegu Art Museum ; Kunstraum LLC, New York ; Redline Contemporary Art Center, Denver... Ils ont récemment bénéficié d’expositions personnelles à la Chaufferie, Strasbourg (2019), à la galerie 22,48 m², Paris (2019), à la Villa du Parc, Annemasse (2018), au Pori Art Museum, Pori, Finlande (2018) et à la galerie Steve Turner, Los Angeles, Etats-Unis (2017). Ils seront également résidents en 2020 à la Kunsthal Gent en Belgique en 2020.

Brown re-works 16mm footage that he shot years ago during a cross-country road trip from Chicago to Las Vegas. The spatial discontinuities of the road trip are rendered as visual continuities across three frames as Brown goes in search of the next town to fall in and out of love with.

Bill Brown is a media artist interested in ways landscape is interpreted, appropriated, and reconfigured according to human desires, memories, and dreams. His research interests include haunted houses, memorial architecture, and outsider archaeology. Brown's films have screened at venues around the world, including the Viennale, the Rotterdam Film Festival, the London Film Festival, the Sundance Film Festival, and Lincoln Center. He lives and works in North Carolina, USA.

This project investigates the gestures of finance capitalism that were once used on the commodities trading floor. Through the production of a speculative instructional video, a commodities trader teaches an actor the gestures that capitalism both invented and made obsolescent.

Ben Thorp Brown is an artist and filmmaker living in New York. He received a B.A. at Williams College, an M.F.A. from the School of the Art Institute of Chicago, and attended the Whitney Museum Independent Study Program. Utilizing video, photography, writing, performance, and installation, his work examines relationships between language, memory, and labor. Brown was the recipient of the John Quincy Adams MFA Fellowship from the School of the Art Institute of Chicago, the Leonhardt Cassullo Video Fellowship at Creative Time, and the Florence J. Chandler travel fellowship from Williams College. His work has been presented in recent exhibitions at SculptureCenter (New York), MoMA PS1 (New York), Vox Populi (Philadelphia), and TEMP (New York).