Catalogue > Liste par artiste

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

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

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

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

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

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

Generalized Hospitals: The Luke Luke & Laura Laura story …Just one more thing! VILM, Stereo, Color, 57:30, DCP, 2024 Generalized Hospitals: The Luke Luke and Laura Laura story …Just one more thing! is the latest collaboration by Darrin Martin and Torsten Zenas Burns reframing elements of nostalgic popular culture into contemporary dialogue with soap operatic tropes, fictional televisual humor, and interspecies relationships. Characters from daytime drama, 1970's children programming, gameshows, and sequential art history are reimagined and re-contextualized to consider new potential mutations and cohabitations to thrive in a changing environment. Transformation is unboxed, and memory solicited through easter eggs, lidar animations, appropriations, and original videos interweaving recognizable characters from television commingled with their new doubled variants. Just one more thing…. Our forecasted performative rituals may suggest ways that these characters merge human and non-human characteristics of past trauma into new bodies of possibility.

Burns & Martin both received BFA’s at Alfred University. Burns received his MFA in video and performance from the San Francisco Art Institute in 1993. Martin received an MFA in media and sculpture from The University of California, San Diego in 2000. Together, they have based their videos and installations on their research into diverse speculative fictions including re-imagined educational practices, appropriated horror genres, animation choreographies, soap-opera cosplay, and cryptid human love stories. Selected videos are distributed by VTape, Ontario, Canada and Video Data Bank, Chicago. They have participated in residencies at Eyebeam, Signal Culture, and The Experimental Television Center. Their single channel videos have screened at venues including The Museum of Art & Design, Pacific Film Archive, Aurora Picture Show, Migrating Forms, Video_Dumbo, Chicago Underground Film Festival, Madrid Museum of Contemporary Art, Stuttgarter Filmwinter Festival for Expanded Media, Oberhausen Short Film and Video Festival, European Media Arts Festival, Spectacle Theater, 18th Athens Digital Arts Festival, and the Florida Experimental Film/Video Festival. Their installations have exhibited at venues including Eyebeam, The Lab, Krowswork Gallery, Fosdick Nelson Gallery at Alfred University, Hobart and William-Smith Davis Gallery, Zhangzhou Museum of Art in China, and The Tack Room Project Space in LaVerne, CA.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

An AI chatbot wonders about their digital memory as they travel through their infrastructures. Under the Pacific Ocean, they talk to an Internet fiber-optic cable. In the city of Santiago, they observe a protest by an ecofeminist group against a new Google data center. In the middle of the desert, the chatbot hears the tragic love story that led to the creation of the Atacama Salt Flat and discovers that cell phone batteries contain the tears of a volcano. Through this speculative, research-based narrative, the short film explores the socio-environmental resonances of digital infrastructures in Chile.

Josefina Buschmann is a researcher, filmmaker and media artist exploring technologies and ecologies. She is a member of the collective MAFI -Filmic Map of a Country-, with whom she collaborated as a filmmaker in OASIS (2024, Berlinale Forum), co-directed GOD (2019, Visions du Réel), and was the general editor of MAFI.tv (2012, IDFA Doc Lab). As a media artist, she created the installation THE FALLEN CLOUDS (2022, Ars Electronica) and the expanded documentary OPERATIONAL ATMOSPHERES (2019, Forecast Forum). Josefina holds a Master's degree in Comparative Media Studies from MIT, where she worked at the MIT Open Documentary Lab, and prior degrees in Sociology and Filmmaking. She has taught courses in media studies and visual and digital anthropology, and was the coordinator of the Visual Anthropology Lab at Universidad Católica de Chile.

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

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

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

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

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

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

With the help of two scenes from two different Hollywood films, a narrator weaves a winding tale about the inability of language to articulate its own origin.?

Erik Bünger is an artist, writer and composer whose work represents an ongoing investigation of the human voice and its paradoxical relationship to the human body.

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

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

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

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