Catalogue > Liste par artiste

Based on the fascination for amusement parks and their connection to cinema, the film ‘Shady Talk’ was realized that documents a fictitious amusement park. The script was written in the form of an exchange of letters. We sent each other texts from an autobiographical perspective over the course of a year. Invented memories of a visit to the thempark accompany the visual material as descriptive fragments. Documentary footage was shot in various amusement parks in Europe: in Park Duinrell in Alkmaar, in Disneyland in Paris, in Praterpark in Vienna, in Tibidabo in Barcelona and in Tivoli in Copenhagen. The examination of these places is initially focussed on showing empty scenes of these places that are normally filled with crowds of people. We are interested in the connection between our everyday surroundings and film as fiction. We want to move away from aesthetic concepts that are based on reality as a stage. The environment does not serve us as a stage for the narrative in the film, itself becomes the main protagonist. The film differs from the actual amusement park. We are more interested in the formal expression of film than using it as escapism, enabling the experience of fictional places.

Swan Lee is currently based in Amsterdam and Julian Ernst lives and works in Vienna. In 2019, Swan Lee and Julian Ernst founded a collective ‘cicada’. The name ‘cicada’ describes a creature that only begins to become noticeable at dusk. With its loud chirping, the insect lends a sound to this time of day, which takes place in a transitional moment of transformation from light to dark. Conceptually, the exhibition formats also move in an intermediate space. The duo develop their exhibition formats based on architectural structures or the mystical past of places. The immersive installations attempt to explore the boundaries between the conventional idea of a suitable environment for artistic works and cinematic stagings. The individual objects themselves often recede into the background and become pillars of the overall concept. Focusing on the communal, i.e. by creating spaces for people to come together. The creation of walk-in sceneries is often associated with the combination of different techniques and media to create a world that seems very far from ours and at the same time very close to ours. In this in between space of seeing and remaining unseen is used to create vivid, moving shots in physical space.

Le titre de "Blut und Boden" fait référence au slogan nationaliste "sang et sol", un idéal raciste d'une identité nationale qui entretiendrait une relation mythique avec une zone de peuplement. Ce terme a ensuite été adopté par les nazis pour propager le faux idéal du fermier aryen et de son droit divin au Lebensraum. Dans cette œuvre, le slogan prend un nouveau sens, faisant plutôt référence à l'histoire du passage à l'âge adulte d'un migrant de deuxième génération en Allemagne. Au début, les paysages contemporains qui accompagnent la narration sont reconnaissables en tant que tels: des voitures traversant un pont, deux hommes promenant un berger allemand. À mesure que le narrateur raconte son histoire et les difficultés qu'il a rencontrées, les paysages deviennent de plus en plus vides et dépourvus de traces humaines, rappelant l'Allemagne rurale, plus calme, des siècles passés. Au fur et à mesure que l'histoire progresse vers un dénouement, les paysages crépusculaires se mettent à dégager un caractère inquiétant et menaçant, en plus de la violence sur le point d'éclater. Les images ont été enregistrées dans la région où ces événements ont eu lieu. Ces dernières années, cette région a connu une forte augmentation du soutien à l’AFD, un parti politique d'extrême droite, et a été le théâtre de grandes manifestations néonazies.

Deniz Eroglu est né en 1981. Il est artiste. D’origine danoise et turque, il habite actuellement aux Pays-Bas. Il a reçu son diplôme de la Hochschule für Bildende Künste – Städelschule, Francfort-sur-le-Main (Allemagne) en 2014. Il été artiste en résidence à la Rijksakademie van Beeldende Kunsten à Amsterdam (Pays-Bas) de 2016 à 2017. Il travaille de nombreux médias et genres - film, vidéo, sculpture, performance et œuvres textuelles. Sur le plan thématique, son travail s'articule autour de l'identité culturelle, des relations humaines, de l'immigration, des utopies, des personnes "éclairées", de la solitude, de la puissance et de l'impuissance, de l'individu et du groupe, et, ces dernières années, de l'examen des institutions sociétales.

A solitary traveller is journeying around the Balkans where he is making a 16mm film about the architecture of psychiatric hospitals in the region in preparation for a PhD proposal. As his journey progresses he changes his original plan and begins to fraternise with the patients, filming them instead. As he becomes more immersed in the environments he visits, he is eventually noticed by relatives in one of the hospitals. They decide to teach him a lesson and follow him out of town to a cave.

Deniz Eroglu (b. 1981, based in Berlin and Amsterdam) works with film, video, performance, sculpture. Thematically his work centres around cultural identity, human relations, the institutionalisation of life, Utopias, “enlightened“ individuals”, loneliness. His work has been shown at Stedelijk Museum; Sharjah Art Foundation; MMK; Staatliche Kunsthalle Baden-Baden; MAXXI Museum; Statens Museum for Kunst; ARKEN Museum; Kunstverein Harbuger Bahnhof; Kunstmuseum Brandts; The Marrakech Biennial and Kunsthalle Darmstadt.

Panambí, before the water, is the portrait of a village that is going to disappear after the construction of a hydroelectric dam between Argentina and Brazil. It is a sunset of a natural place and its family stories.

Ezequiel Erriquez was born on April, 1985 in Buenos Aires. Interested in cinema since childhood; in 2001 began studying photography, art and theatre. In 2002 he started studying Cinema at the University of Buenos Aires. In 2004 he mad experimental videos that were realizing his aesthetics, like Karma short film and in 2008 his short film Hidden behind was selected in the Georges Méliés contest, France. In the early begnning in his career, Ezequiel new ways of art in Performance and video art, like his works; Agua y la ausencia and Rostros invisibles. In 2011 he wrote and directed his first film To The Cantabrica. Ezequiel was selected in the Editing Studio the Berlinale Talent Campus in Germany and He worked in the Deutsche Film- und Fernsehakademie Berlin (DFFB) with Danish editor; Molly Malene Stensgaard ( dancer in the dark, Dogville, Nymphomaniac). The film has been supported by City of Buenos Aires, BAL, (BAFICI), won the INCAA prize to the best shoot film in 2012 and It was premiered at the 2012 in the Int. Film Festival Rotterdam, in The Netherlands. It was selected in several int. film festivals like; Taipei, Montevideo, La Habana, Mar del Plata and Texas. In 2014 he made Panambí, before the water, winner of the first prize for best documentary short film festival in the Latin American environment, Cine Migrante Film Festival, Festival Internacional de Uruguay, and others. He has been recently selected in the Writers lab en Binger film lab, The Netherlands, Raymundo Gleyzer, INCAA and Buenos Aires Bienal of art 2015.

Le travail de Nick Ervinck explore les frontières entre les différents supports tels que l'architecture et la sculpture, pour essayer de fragmenter l'image mentale et de questionner l'usage et la perception de certains éléments de construction tels que les matériaux, les proportions, l'espace, la couleur et le volume. Il se risque à déclencher une interaction entre les constructions virtuelles et les sculptures faites à la main avec l'idée éventuelle d'inciter le public à regarder le monde d'un nouvel oeil. Pour y parvenir, il utilise une variété de support, des tirages digitaux, des vidéos, des dessins, mais avant tout, des sculptures faites de plâtre, de polyester et bois, peints, et présenté d'une manière précise à l'intérieur d'un espace donné. Les animations tout comme les tirages digitaux donnent un aperçu vers un monde digital et virtuel mais aussi un passage vers une "réalité différente". A l'intérieur du monde artificiel d'Ervinck, les choses fonctionnent très différemment de toutes compréhensions traditionnelles de la logique. Des formes polymorphes et synthétiques se trouvent dans, ou bien, sur, les pièces, les étagères et les plates-formes "apparemment" authentiques et prennent vie en tant que molécules en mutation par une simulation artistique par ordinateur. Dans la conception d'Ervinck, le bois est flexible, les objets jaillissent du sol, les pièces sont mobiles dans toutes les directions, tout est en désordre par rapport au sens commun. Le monde dans lequel l'artiste opère est créé par ordinateur, construit et déconstruit par un créateur omniscient et sans aucunes limites. Les murs ne sont plus des murs et la gravité à l'air inexistante. Il joue avec des formes sculpturales et des bâtiments gigantesques se font soulever en une fraction de seconde et semblent comme injectés d'une vie nouvelle. Les maisons se changent en sculptures et se développent dans l'espace. C'est un ballet systématique utilisant des images, des matériaux et l'espace, un numéro d'équilibre entre les matériaux et les calculs méticuleux et objectifs, créé par une improvisation inspirée.

L'artiste visuel belge Nick Ervinck (Roeselare, 1981) créé des installations gigantesques, des sculptures, des épreuves, des dessins et des films d'animation. Son travail est caractérisé par la création d'une archive constamment grandissante de nombreux modèles et d'objets. Au fond, il fait des sculptures d'une complexité différente. En créant cette archive immense, une interaction intéressante entre les constructions virtuelles et les sculptures faites à la main est atteinte. Les images virtuelles contaminent continuellement les objets en 3D, mais aussi à l'inverse. Cela fait de nombreuses années qu'il s'implique dans plusieurs projets individuels mais aussi des expositions en groupe. En 2005, il reçut le prix Godecharle pour la sculpture et en 2006 le prix Mais de la ville de Bruxelles et le prix des arts visuels de Flandres de l'ouest. Récemment il exposa à la SMAK de Ghent, la Koraalberg d?Anvers, le Brakke Grond d'Amsterdam, la 80 WSE Gallery à New York, Show Off Paris, BE-part Waregem, Telic Los Angeles, le studio Hermann Wagner à Berlin, le MAMA de Rotterdam, et le Year07 Projects à Londres.

Des africains qui ont echappé de l'esclavage en Colombie, comme dans plusieurs autres parties des Amériques, construisent des enclaves de libertés dans des quartiers qu'ils contrôlent. En Colombie, ils sont connus en tant que " palenques". Del Palenque de San Basilio est un voyage à l'intérieur d'un de ces palenques qui existent toujours, et nous donne à voir la musique traditionelle de cette communauté ainsi que sa danse et ses histoires orales.

A Peruvian father labours patiently, chipping at the white volcanic stone that forms an extraordinary landscape. His son is part of the modern world: he uses cameras and drones in order to create the digital model of a church on a computer. Separated by the mysterious death of the wife/mother figure in the family, these men do not connect. And yet their paths cross in a ghostly manner, as do their professions: each in their own way works with textures and volumes, sensations and perceptions. Can the realm of digital art recreate and revivify the old world? Can it also awaken hearts grown lonely and cold?

Felipe Esparza Pérez (1985. Talara, Peru) graduated with a master's degree from Centro de la Imagen (Lima) and Le Fresnoy - Studio National des Arts Contemporains (France). His work creates dynamic links and tensions between film and visual arts, with a strong interest in rituals, faith and its symbolic derivations and the relationship between image and time, image and history, and image and truth. His work has been shown in Rencontres Internationales Paris/Berlin -New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Pekín), Biennale Videobrasil (Sao Paulo), Los Angeles Film Forum, FIVA Videoart Festival, Rotterdam International Film Festival, Curtocircuíto, Moscow IFF, Torino IFF, Beijing BIFF, among others. He is currently a fellow at the Film Study Center at Harvard University.

From the diary of Christopher Columbus, October 15, 1492: "And deviated from the land by two lombard shots, there is in all these islands so much depth that one cannot reach it. These islands are very green and fertile and have very sweet airs, and there may be many things that I do not know, because I do not want to stop to go through many islands to find gold". They had only been on land for four days. The gold never existed. It is only possible to suppose the sweetness of the air. The islands are still green.

Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture. His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others. Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.

Ayahuasca is a drink used by the Amazonian indigenous peoples, which is commonly called "medicine" to access higher states of consciousness, experimenting with different gods, emotions, fears and egos, `cures`, change habits, thoughts, emotional states . According to tradition, the ayahuasca is the rope that allows the spirit leaves the body without this die.

Graduated in Communications, specializing in audiovisual by the Peruvian University of Applied Sciences. I worked in several agencies like Pragma, McCann Erickson and audiovisual production companies such as 7 Samurai and Cine 70. Film worked as assistant director in two Peruvian films. I was art director for several magazines and independent design and cultural publications in my own studio. Explore the audiovisual language, graphic design and illustration and painting. In my audiovisual work, I have been in the official selection at the Independent Film Festival of Lima (2013-2015). Insurgency displays moving: anthology of Peruvian audiovisual margins. (MALI 2013). Intermittent sample Lima Film Festival (2012). It shows at the Cultural Center Expaña (2011). Latin American projection UnionDocs for Documentary Arts (NY).

A visual and soundscaped short ambience voyage through an utopian, ghost-like city-state. In this mid twentieth century imaginary Lisbon, the power plants continue to produce energy, brand new subway network locomotives’ engines hum in standby, city lights and neon signs come alive each night and radio receivers spread Salazar’s [Portuguese Dictator] speeches - yet, nowhere is to be found the slightest human presence: there isn’t anyone to see and hear this newcomer modernity’s heartbeat. Only statues and facades inhabit the metropolis. "CINZA" is a short film made entirely from photographs that depict Lisbon during the dictatorial regime installed in Portugal from 1926 until 1974. Their authors were Mário Novais, Horácio Novais and Casimiro dos Santos Vinagre, and the photographs now belong to the Calouste Gulbenkian Foundation Art Library Archive.

Micael was born in 1974 and graduated in ‘Directing’ at the Lisbon Theatre and Film School, in 2003, where he had already obtained his bachelor degree in ‘Editing’, in 1999. He is a partner at the production company Roughcut, where he’s been developing documental projects, television series, fiction and animation short films, being also responsible for the company’s post-production of several projects and works. He co-founded with David Gabriel, in 2012, the colective "Companhia do Inferno", which dedicates itself to the development and production of videoart projects and scriptwriting, under which he already directed several experimental videos. Since 2000, Micael works regularly as a freelance editor in advertising, television, fiction, documentary and music videos, and he worked with such directors as Bruno Ramos, João Nuno Pinto, Júlio Alves, Marco Martins, Miguel Coimbra, Miguel Seabra Lopes, Pedro Cláudio, Pedro Macedo, Pedro Sena Nunes, among others. He directed the television series "KmZero" which was aired on RTP2 (2007/2008), and co-directed the cultural magazine "Câmara Clara", which also aired on RTP2 (2008/2009). Recently, he co-directed the documental series “Tradições – Retalhos da Vida de um Povo”, produced by Roughcut and broadcasted by SIC Notícias (2013/2014). He produced, directed and animated the animation short film "Black Bug", which was one of the finalists of the ZON Awards Creativity in Multimedia (2011/2012). In collaboration with the performing arts, Micael directed the video for the theatre play “Old Times”, staged by Duval Pestana, for ONIMED, and directed the video for the performance “The Lusiads” by António Fonseca, which premiered at Guimarães – European Capital of Culture, in 2012, and was already presented in Lisbon, Coimbra, Almada and Brazil (2013/2014).

A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.

Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.

“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

“Our Non-Understanding of Everything #12” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.

eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.

What is our relationship to our tech devices? How do smart devices exist in the world? What do we want from them? What do they want from us? "Our Non-Understanding of Everything" is a daily practice, where we observe and speculate of how our personal tech devices and their building parts exist in a possible future, shared between the architecture of circuitry, political thought and the wild and programmed parts of our natural environments. “Our Non-Understanding of Everything” signals a complete openness to learn, shift viewpoints, upturn embedded prejudices, discover, surprise and draw connections between phenomena and things that reside and operate in wildly diverse realms. The project aligns with non-representational ideas, in which events and encounters in the world are constituted through emergent, relational, and intangible complexities that cannot necessarily be articulated or contained within the particular ways we attempt to represent them.

eteam is a two people collaboration who uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetical universes. Traversing over earthly planes they trigger communication, collaborations and transformations between humans, nature, and technologies. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Eteam’s work is land- and process-based, often long term, situational and happens in places they don’t inhabit permanently. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves and on mountaintops, in ships, black box theaters and horse-drawn wagons. They could not have done this without the generous support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are represented by Gallery M29, Cologne Germany and Video Data Bank, Chicago.

"Godard-Warhol This would be in short what the video is about: One minute of carrying One double minute One minute of silence One minute of rock One minute of star : gowar"

Jon Mikel Euba est né en 1967 à Bilbao, Espagne. Il vit et travaille à Berlin et à Bilbao.Il s`apprête à présenter à Bucarest ses vidéos, dont la dernière intitulée "One minute of Silence" mais aussi des plus anciennes comme "K.Y.D." (2001). Il travaille actuellement sur sa prochaine vidéo. Jon Mikel Euba a à la fois recours au texte et à l`image dans ses ?uvres "utilisant la vidéo, le dessin et les mots pour construire des récits ambigus et mettre en scène des incidents ou des situations mystérieuses dans lesquelles le paysage suscite des fragments d`actions récurrentes, qu`une répétition à l`infini transforme en icônes abstraites. À partir du montage d`images provenant de ses archives personnelles, d`arrêts sur image, de phrases et des passages récupérés, il génère un nouveau texte cinématique, une nouvelle structure qui transcende de telles unités informationnelles pour décrire de nouveaux modes de comportements." (Nuria Enguita Mayo).

Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

The sonic fabric of 2nd Person, a multi-channel video installation, is formed through an array of women’s voices reflecting on topics such as coming of age, sex, aging and death. Visual shifts within nine images spatially strung together, correspond to the voices loosely, reactive to the scenes invoked by the women’s stories, and to the emotive range of the voices’ individual and combined music. The piece includes conversations with women of different ages, backgrounds and circumstances, who reflect on their past and current hopes and anxieties, on their understanding of the concept of love, on a de-centering of self that comes with parenting, on touching and inhabiting an aging body, on their discomfort with an imposed gender label, and more. The protagonists are documented performing distinct activities (e.g. producing art, walking, cooking, playing an instrument, exercising etc.) in locations ranging from Illinois, Michigan, Arizona, California and New York, to Egypt and Romania. Additional footage reflecting one of the women’s dreamscape, was shot in an underwater village in Argentina. The video is 55 min. long, and is composed of a concurrent display of short clips that focus on a specific topic, and are each told by a single participant. The clips are threaded to form a web of themes and motifs, both verbal and visual, together generating an ongoing conversation (without beginning or end) on growing up and aging, friendship, love, motherhood and the death of parents.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada, Israel and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

"Chronicle of a Fall" est un documentaire expérimental sous la forme d’une installation multicanale immersive. Le projet dépeint l'expérience Fragmentée de six migrants aux États-Unis, en utilisant des caméras corporelles et une capture volumétrique.

Tirtza Even est documentariste et vidéaste depuis plus de vingt ans, et a produit des vidéos linéaires et interactives, représentant les aspects les moins évidents de dynamiques sociales et politiques complexes et parfois extrêmes dans des lieux spécifiques (par exemple en Palestine, en Turquie, en Espagne, aux États-Unis et en Allemagne, entre autres). Son travail a été présenté notamment au MoMa - Museum of Modern Art, New York (USA); à la Whitney Biennale, New York (USA), et à la Biennale de Johannesburg (Afrique du Sud). Il a également été présenté dans de nombreuses autres galeries, musées et festivals aux États-Unis, en Israël et en Europe, notamment au Festival du film de Rotterdam (Pays-Bas); au San Francisco International Film Festival (USA); et au New York Video Festival, Lincoln Center, New-York (USA). Elle a obtenu de nombreuses bourses et récompenses, notamment le Fledgling Distribution Fund; le Artadia Awards, Chicago (USA) [premier prix]; le Golden Gate Awards Certificate of Merit, San Francisco International Film Festival (USA); le Best Experimental Film au Syracuse Film Festival (USA); le Media Arts Award de The Jerome Foundation, New York (USA); le premier prix de L'immagine Leggera Festival, Palerme (Italie); et un Individual Artists Program Award du NYSCA – New York State Council on the Arts (USA). Ses œuvres ont notamment été acquises par la collection permanente du Museum of Modern Art, New York (USA); du Jewish Museum, New York (USA), et du Israel Museum, Jérusalem (Israël). Elle a été invitée à participer à plusieurs conférences et programmes universitaires, dont la Whitney Museum Seminar Series, New York (USA); le Digital Flaherty Seminar, New York (USA); la SXSW Interactive Conference, Austin (USA); le panel annuel Art Pace, San Antonio (USA); ACM Multimedia, San Francisco (USA); la conférence PSI - Performance Studies International, Providence (USA); la conférence SLSA - Society for Literature, Science, and the Arts, Chicago (USA) et plusieurs autres. Son travail est distribué par Heure Exquise, (France); VDB - Video Data Bank (USA), et GIV - Groupe Intervention Video (Canada). Elle est Maître de conférence au département Film, Vidéo, Nouveaux Médias et Animation de la School of the Art Institute of Chicago (USA). Nadav Assor (né en 1979, États-Unis / Israël) vit et travaille à Providence (USA). Dans son travail, il s'intéresse aux systèmes de médiation technologique, souvent d'origine militaro-industrielle: des caméras de suivi oculaire aux drones, en passant par les dispositifs de téléprésence et les environnements de réalité mixte. Dans son travail, il réutilise de manière critique des versions low-fi de ces systèmes, afin de créer des communautés, des relations, des dialogues humains et intimes, ainsi que des expériences audio-visuelles-tactiles profondes. Ses vidéos, installations et performances ont été présentées dans des festivals de cinéma, des musées, des galeries et des salles de spectacle en Amérique du Nord, en Europe et en Asie. Parmi les lieux récents, citons entre autres Arsenal Berlin (Allemagne); le Oberhausen International Short Film Festival (Allemagnue; "Video Vortex XI" à la biennale Kochi-Muziris, Kochi (Inde); le Hong-Gah Museum Taipei (Taïwan); La Casa Encendida, Madrid (Espagne); la Edith-Russ Haus, Oldenburg (Allemagne); la Transmediale, Berlin (Allemagne); la Soundwave Biennial, San Francisco (USA); Residency Unlimited, New York (USA); la Julie M Gallery, Toronto (Canada) et Tel Aviv (Israël); et la Fridman Gallery, New York (USA). Son travail a fait l'objet de critiques dans des publications telles que Artforum, Vice Motherboard, Art Monthly UK et Haaretz, et a récemment été présenté dans "Rêvolution Digitale", une collection à propos de l'art numérique international coproduite par la chaîne Museum TV de CANAL. Ses œuvres vidéo à canal unique sont distribuées par Video Data Bank, Chicago (USA). Il est Maître de conférence en expanded media au département Studio Art du Connecticut College, New London (USA), et directeur du Ammerman Center for Arts and Technology, New London (USA). Il est actuellement membre de l'Open Documentary Lab du MIT – Massachusetts Institute of Technology, Cambridge (USA).

Icarus / Tirtza Even Icarus fut abattu à Cartagène, en Espagne. La ville de Cartagène située sur la côte Méditerranéenne, a été un site de grandeur et de décadence (où alternaient manifestations de pouvoir et troubles politiques), site idéal pour un déploiement de cultures et de régimes. Romains, Byzantins et Ottoman, tout comme l'Église Épiscopsale et la République Espagnole s'y sont mêlés. Durant cette période la ville servait (entre de longs moments de décrépitude, d'épidémies, de guerres, de destruction puis de récupération) de port fructueux, de base militaire à valeur stratégique et de centre industriel et commercial riche en minerais, mines de plomb et d'argent. De nos jours, c'est une petite ville périphérique, habitée en grande partie par une communauté émigrante du Maroc, des travailleur d'un jour, elle aboute pour élargir le tourisme et l'attrait culturel de ses exhumations avec des restes d'un théâtre romain, et d'un amphithéâtre situé sous des arènes, et d'un grand nombre militaires, marines et sites culturels historiquement pointus , tout comme son Université renommée (qui réside dans un hôpital militaire rénové) -- une série de maisons sont démolies, sous surveillance, dans des sites par intermittence dispersés dans le centre de la ville, afin d'être ré-occupés dans un futur proche par des appartement-hotel de luxe. Au moment de la réalisation d'Icarus, les signes variés de pouvoir et d'entropie, de centralité et de marginalité, qu'elle soit militaire, politique, éthnique, économique, culturelle ou sociale, étaient exposés de façon éclectique dans l'architecture superposée et fracturée et dans l'arène humaine. La vidéo éditée pour Icarus, consiste en 12 min. de plan inversé- un impossible re-tour ou "torchon temporel" -- à travers des sites circulaires filmés à Cartagène, chacun cousu ensemble comme rapiécés, dans l'espace et le temps, du paysage urbain d'une ville. L'acte de tisser: des moments et des en- et hors- scènes , trahit des fissures inédites dans lesquelles différents personnages glissent, dans lesquelles ils convergent, ou disparaissent. Ainsi le paysage pêle et se déplie, se retournant sans vraiment arriver à ce moment intact d'aspiration et d'origine. L'oeuvre est formellement engagée dans le louvoiement de paysages fragmentés, utilisant les mouvements de la caméra comme moyen pour commenter - ou occuper et ainsi interrompre -- ces déterminants politiques et sociaux du paysage.

Tirtza Even, Bio Vidéaste en pratique et documentariste durant ces dix dernières années, Even a réalisée des travaux vidéo à la fois linéaires et intéractifs représentant des manifestations complexes peu évidentes et quelquefois des dynamiques socio-politique extrêmes, dans des endroits spécifiques (comme par exemple la Palestine, la Turquie,l' Espagne, les États Unis, et l'Allemagne parmi tant d'autres). Son oeuvre est parue au Musée d'Art Moderne de New York, à la Biennale de Whitney, Johannesburg ainsi que d'autres festivals, galeries, et musées aux États-Unis, en Israël, et en Europe, et a été acheté pour des collections permanentes par le Musée d'Art Moderne (New York), le Musée Juif (New York), Le Musée d'Israël (Jérusalem), pour ne citer qu'eux. Elle a été invitée et oratrice lors de nombreuses conférences et de programmes universitaires, dont "the Whitney Museum Seminar series", "the Digital Flaherty Seminar", "Art Pace annual panel", "ACM Multimedia"," The Performance Studies International conference" (PSI), "The Society for Literature, Science", and "the Arts conference" (SLSA) et autres.

Untitled is a documentary in which four actors are waiting. While waiting in silence, their presence raises questions about the border between reality and fiction.

Lieselot Everaert (Bruges, 1993) is a Belgian filmmaker based in Ghent. She is currently finishing her Master of Fine Arts at KASK School of Arts in Ghent.

Hazel (dual) is a split screen film, shot in 16mm b/w, inspired by the legendary recording of the underrated guitarist Eddie Hazel’s (1950-1993) ten-minute guitar solo on “Maggot Brain”, the title track to Funkadelic’s 1971 album . The film is the fictitious moment when bandleader George Clinton “misleads” the guitarist Eddie Hazel to record what is considered one of the greatest guitar solos ever recorded. Performed by actor and musician Ricky Goldman whose previous collaborations with the artist include leading roles in the short films It Seems to Hang On (US, 2015, Venice Film Festival); We Demand, co- directed with Claudrena N. Harold (US, 2016, Berlinale 'Forum Expanded' and Gospel Hill. co-directed with Claudrena N. Harold (US, 2022, Chicago Intl FF).

Kevin Jerome Everson (b. 1965 Mansfield, Ohio U.S.) B.F.A. University of Akron; M.F.A. Ohio University. Lives and works in Charlottesville, Virginia, US. Commonwealth Professor of Art and Director of Studio Arts, University of Virginia Everson's work and practice encompasses photography, printmaking, sculpture and film – 12 features and more than 200 solo and collaobrative short form works. He has been recognized with the Guggenheim Fellowship, the Alpert Award in Film/Video, the Heinz Award in Arts and Humanities, the American Academy in Rome Prize, the American Academy in Berlin Prize and artist grants from Creative Capital, National Endowment of the Arts, Hallwalls Contemporary Arts Center, Wexner Center for the Arts and the Ohio Arts Council. His artwork has been the subject of retrospectives and solo exhibitions at The Whitney Museum of American Art, Tate Modern/Film, Cinema du Reel/Centre Pompidou, BlackStar, Halle fur Kunst Steiermark, Graz, Art Windsor-Essex, Windsor, Ontario, Museum of Modern and Contemporary Art, Seoul, Museum of Contemporary Art, Novi Sad, Serbia, Harvard Film Archive, Cinematek Brussels/Courtisane and presented at international film festivals and art institutions including Berlin, Sundance, Rotterdam, Toronto, Venice, BFI/London, NYFF, BlackStar, Oberhausen, Jeonju, Carnegie Museum of Art, Pittsburgh, MOCA, Los Angeles, Walker Art Center, Minneapolis, MoMA, NY and the Smithsonian National Museum of African American History & Culture, Washington D.C.. His films have been featured at the 2008, 2012 and 2017 Whitney Biennial, the 2013 Sharjah Biennial, the 2018 Carnegie International and the 2023 Contour Biennale in Mechelen, Belgium. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I Really Hear That: Quality Control and Other Works was released by VDB in summer 2017. The DVD contains the feature film Quality Control (2011), included in the 2012 Whitney Biennial. The two disc blu-ray How You Live Your Story: Selected Works of Kevin Jerome Everson was released by the UK based boutique label Second Run DVD in Fall 2020. Everson's films are represented and/or distributed by Picture Palace Pictures, New York.

Commandé par le festival du film de Rotterdam de 2007 en hommage à l'oeuvre de Gus Van Sant, "Emergency Needs", réalisé par Jerome Everson, est une réinterprétation sous forme de pastiche d'un événement de l'histoire afro-américaine: les émeutes de Cleveland de 1968. En utilisant à la fois des séquences d'archives et des images originales, le film déconstruit la chaîne d'événements dans laquelle est pris le maire Carl Stokes. Assailli de questions par la presse locale et nationale, Stokes lutte pour garder la face. L'actrice qui incarne Stokes reproduit ses mots, sa façon de s'exprimer et ses gestes, dirigeant le film vers la fiction / reconstitution historique. Comme dans d'autres oeuvres d'Everson, les histoires de la diaspora africaine sont réexaminées de façon à révéler des stratégies et des rythmes de travail. Les séquences d'archives de la conférence de presse et des émeutes révèlent un homme engagé dans l'art politicien, quelque chose se rapprochant du jeu d'acteur. Les séquences originales avec l'actrice récréant la conférence de presse en split screen ajoutent une qualité répétitive, étrangement Warholienne, à l'oeuvre.

Kevin Jerome Everson est né à Mansfield Ohio, où il a grandi. Il est réalisateur et artiste visuel. Son oeuvre étudie les conditions, les tâches, les gestes des communautés de travailleurs noirs. Il enseigne actuellement à l'université de Virginie, Charlottesville. Everson est diplômé de l'université de l'Ohio et de l'université d'Akron. Il a réalisé deux longs- métrages salués par la critique et plus de quatante courts- métrages couronnés de prix. En 2006, il a été élu par Filmamaker Magazine comme l'un des vingt-cinq nouveaux visages les plus importants du cinéma indépendant. En 2005, son premier long- métrage "Spicebush", une enquête sur les rythmes de travail et le passage du temps dans les communautés de travailleurs noirs, a été montré pour la première fois au festival international du film de Rotterdam et remporté le prix du jury du meilleur documentaire au festival du film underground de New York. "Cinammon" (2006) a été découvert au festival du film de Sundance et au festival de Rotterdam, ainsi que dans d'autres festivals internationaux. Avec sa compagnie Trich Arts, Everson développe actuellement deux projets de longs- métrages avec la productrice Madeleine Molyneaux de Pictures Palace Pictures, dont "The Golden Age of Fish" (en post-production), une étude scientifique sur la culture de consommation à la fois meurtrière et suicidaire, et le biopic expérimental "Rhino", sur les vies et mythes entourant le Duc de Florence du XVIe siècle Alessandro della Medici, né d'une servante africaine, et sur l'actrice afro-américaine Gail Fisher ("Mannix"). Everson développe également "Lowndes County", en collaboration avec la dramaturge Talaya Delaney, sur une communauté d'adolescents noirs dans les années 50, au Mississippi, à la veille de la déségrégation de l'école. Ses photos, sculptures et films ont été montrés à travers le monde, au MOMA de New York, au Whitney Museum of American Art, au Cleveland Museum of Art, au Studio Museum de Harlem, au Armand Hammer Museum de Los Angeles, au REDCAT (L.A.), au Palm Beach Institute of Contemporary Art, à la William Busta Gallery de Cleveland, Ohio, à la Spaces Gallery de Cleveland, à la Whitechapel Gallery de Londres, l'American Academy de Rome, en Italie, en France, en Chine et en Allemagne. Ses films ont été présentés au festival de Sundance en 1998, 2000, 2003, 2004, 2006, au festival de Rotterdam en 2003, 2005, 2006, au Festival International du Documentaire de Marseille, au Munich International, au Cinematexas, au Ann Arbor Film Festival, au LA Film Festival, au New York Underground Film Festival, à l'International Center of the Arts de Londres, à la New School of Social Research, au Black Maria Film Festival (meilleur film 2004), à l'Athens International Film Festival, au Shorts International de New York, au Siskel Theater de Chicago, au Virginia Film Festival de Charlottesville, à l'université de Floride Centrale, à l'université de Princeton, et au South by Southwest Film Festival (prix du meilleur film expérimental pour "Thermostat").

Tygers (2014) is a glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio, the alma mater of the filmmaker.

Kevin Jerome Everson: Filmmaker Biography Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Workers Leaving the Job Site is another take on the Lumiere Brothers classic 1895 film. Shot in Columbus, Mississippi, the hometown of the filmmaker's parents.

Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Cleveland’s MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

" A Free Moment was made in Tell el-Full in Jerusalem. The site, which before 1967 was in Jordan, had been chosen as the location for King Hussein?s summer palace. The framework of the palace was constructed before the occupation of East Jerusalem after the Six Day War and it remains a kind of ruin to this day. Evron gained access to the site and eventually determined to make a film within the building with a camera which would simultaneously perform three operations: it would pan in a 360 degree circle; it would tilt in another 360 degree circle, and it would undertake these two motions while traveling along a dolly track on a north-south axis. In other words, the camera would exhaust the repertoire of its mechanical motions and ?see? everything possible around it. The film also would last four minutes, being the length of one 400 foot film cartridge. In order to make this work, Evron worked with technical advisors to construct a track within the shell of the abandoned 1967 palace, and to programme the motions of the camera. The resulting film begins simply enough, with a view over Jerusalem. It is a view from a summit, and one we associate with notions of control and ownership ? the kind of view that we could well expect a king to enjoy from a palace. We would not be surprised if this view were accompanied or followed by a panoramic movement, so that the landscape all around was surveyed, but as Evron?s camera begins its journey, a completely unfamiliar motion begins since the camera starts looking up and around while moving backwards. Soon enough it points towards the rough concrete blocks of the floor above it, which, because of the way they are filmed, seem to lose their material identity. It seems as if we are looking down at a strange landscape, rather than upwards at rough breezeblocks. A few seconds later, the initial viewpoint out to the city reappears, but this time it is inverted. As the camera continues its backwards journey, it begins to record the track on which it is moving and the floor beneath the track, another rough surface that appears like a desert or lunar surface. Eventually the motion stops with a return to the orientation with which the film opens. ‏Evron?s film relates to the late 1960s in more ways than the date of the palace: this was the moment of structuralist film, when artists such as Michael Snow, Anthony McCall, Paul Sharits and others began to interrogate the apparatus of cinema, looking at the nature of a zoom or panning movement, the conical shape of a projected film, and the material properties of celluloid. A Free Moment is deeply indebted to this legacy and throughout the film, however unworldly the motion of the camera, Evron emphasizes the construction that has to be in place for this motion to occur: the camera necessarily records the track along which it moves, and even the mechanism between it and the track. But what is much more interesting than its structuralist credentials is the way Evron deploys these formal ideas in order to re-imagine the site in which he works. Through its elaborate structures, the film produces another way of seeing and thinking about the space in which it is set. We are not invited to ?see? Jerusalem as the Jordanian king once hoped to see it, nor as many Israelis now hope to see it, panning around a ?united Jerusalem?, all of which is hoped will remain under Israeli control. Instead, we are invited to loosen our ways of looking at architecture and landscape, to turn our way of looking on its head. The invitation and utopianism of this work is the idea that this way of looking might mean thinking about the city and its future in completely new ways. " excerpt from a text by Mark Godfrey

Nir Evron, born 1974 is a video artist and film maker. He graduated from the Bezelel Academy of Art and Design in Jerusalem in 2001 and completed a MFA degree at The Slade School of Art in London in 2005. Since then he exhibited extensively in Europe and Israel. He participated in the 2010 Berlin Biennale, The Jerusalem Film Festival (2011) where he won The Ostrovsky Family Fund Award for his piece `A Free Moment`. His solo Show `Here-Afrer` at the Tel Aviv Center for Contemporary Art was received with critical acclaim. His video works and film were purchased by museums and private collections, among them The Israel Museum, Jerusalem, The Tel Aviv Museum and The Zabludovicz Collection, London. He teaches video art at the Bezalel Academy and Hamidrasha College.

The video was shot at the "Seven Arches" hotel in East Jerusalem. Built in 1962 by the Royal Jordanian family, it hosted the first meeting of the P.L.O (Palestinian Liberation Organization) in 1964 and the first signing of the Palestinian charter. Currently managed by Israel`s ministry of justice - department of missing person`s property, its almost empty all-year. The hotel is kept in a state of near death where employees and tourists seem like ghosts. The video follows the hotel`s spaces and halls for 24 hours, focusing on the futile actions of the staff, expecting arrivals that never come.

Nir Evron Born 25/7/1974, Herzeliya, Israel Lives and works in Tel Aviv, Israel Tel: (00-972) 0544576028 E-Mail: nir_evron@yahoo.com Education: 2005 MFA Fine Art Media Department, Slade School of Fine Art, UCL, London 2001 BFA Photography and Media Department, Bezalel Academy for Art, Jerusalem 1999 Ecole Nationale Superieure Des Beaux-Arts, Paris (Atelier Jean-Marc Bustamante) Solo Exhibitions: 2008 Generator, The Artists` Studios Gallery, Tel Aviv 2007 Serpentine, The Artists` Studios Gallery, Tel Aviv 2006 Herzelia Museum of Contemporary Art, Herzeliya, Israel (curator: Dalia Levin) 2003 Schwartz, The Photographers Gallery, Bezalel Academy, Jerusalem Group Exhibitions and Screenings: 2009 The 2nd Herzeliya Biennial, Israel (Curated by Picnic Magazine) Our Time, Small Box 28, Centro Hospilatar Psiquiatrico de Lisboa, Lisbon, Portugal Zulu, Nahum Gutman Museum, Tel Aviv (Curator: Tali Tamir) (Catalogue) Hidden Secrets, The Jerusalem Film Festival, Israel (curator: Galit Eilat) Echoes Of Time And Place, The Jerusalem Cinematheque. The Age Of A Different Re-Action, Galerie Davide Gallo, Berlin, Germany 2008 Pulse Miami Contemporary Art Fair, Miami, USA Europa Neurotisch, Petersburg Project Space, Amsterdam, Holland Overcast & Flowers, D&A Gallery, Tel Aviv Visits To (Some)Where, BWA Gallery, Zielona Gora, Poland (curator: Adi Englman) Untamed Paradises, MARCO Vigo & CAAC Sevilla, Spain (curator: Virginia Torrente) The Prize Winners 2007, Haifa Museum of Art (Catalogue) Click-Clack, University of Haifa, The Art Gallery (Catalogue) (curator: Ruti Direktor) Snap-Shot, Ramle Art Gallery, Ramle, Israel Vergescapes, Tivom Memorial Center Gallery, Tivon, Israel. 2007 Passage, Video Art screening at the Artistsʼ Studios Gallery, Tel Aviv 2006 The Third Generation, Minshar Gallery, Tel Aviv We Are So Much Better Than This, Studio 27, San Fransisco. USA The Impossible Landscape, UMASS Gallery, Amherst, USA (curator: Mark Godfrey) VideoZone 3. The International Video-Art Biennial in Tel Aviv, Israel Black-Implication Flooding, Colony Gallery, Birmingham, U.K Cortisane - Short Film, Video and New Media Festival, Ghent, Belgium Athens Video Art Festival, Greece 2004 SNAP! Diorama Gallery, London 2003 Artik 5, Ramat Gan Museum of Art, Israel 2002 Florocent 5, Florocent Gallery, Tel Aviv Collapse, Bezalel Gallery, Tel Aviv. Awards and Scholarships: 2008 The Tel Aviv Museum ʻSam Givonʼ Prize for Young Artist. Video Art Fund, Center For Contemporary Art, Tel Aviv, Israel 2007 Israel`s Minister Of Culture Prize for Young Artist, 2005 Video Art Fund, Center For Contemporary Art, Tel Aviv, Israel 2005 Project Award, Slade School of Fine Art, London 2004 The Thomas Scholarship, Slade School of Fine Art 2003 America Israel Cultural Foundation Award for Young Artist Collections: Amos Schocken `Haaretz` Publishing Group Collection Private Collections - Tel Aviv Private Collection - Zurich Teaching: 2005-Present The Photography Department, Minshar Art School, Tel Aviv 2007-Present The Photography Department, Bezalel Academy of Art, Jerusalem, Israel 2009-Present Hamidrasha School of Art and Education, Beit Berl, Israel

An unseen narrator tells his experience of wrongful imprisonment in an unnamed country and his random release. Based on a letter sent to Amnesty International, by the filmmaker’s father, and a surreal interview given about it. ‘Prison with Songbirds’ is a documentary and fiction hybrid in which dream-nightmare and digital-celluloid collide.

Ewan Macbeth (born 1992, UK) is a Scottish artist filmmaker based in Rotterdam. After studying Fine Art Photography at Glasgow School of Art he did an MA in Lens-Based Media at The Piet Zwart Institute. His work has been seen in International Film Festival Rotterdam, Ji.hlava International Documentary Film Festival, EYE Filmmusuem Amsterdam, EMAF Osnabrück, CCA Glasgow, RSA Edinburgh; amongst others. He is currently a member of Time Window collective and developing his first feature film.

`Tonight’s programme` toys with history to construct a new realm in between, merging Duke Ellington’s 1963 performance at Khuld hall in Baghdad with Saddam’s bloody coup in the same space 16 years later. Eyal creates a fictional space to provide a different history and a different world for those victims in the hall, a gate of annunaki through which the dead and lost can reclaim their place. “Don’t let anyone kill your daughter in the underworld. don’t let your precious metal be alloyed with the dirt of the underworld. don’t let your precious lapis lazuli be split there with the mason’s stone. don’t let your boxwood be chopped up there with the carpenter’s wood.” – Words by inana of the underworld, the land of no return.

Ali Eyal`s (b. Baghdad, 1994) work spans across different media. He holds an undergraduate degree from the Institute of Fine Arts in Baghdad. His work explores the complex relationships between community and politics using different media such as video, photography and painting, in order to examine social attitudes, particularly in the context of Baghdad and Iraq. Eyal has exhibited in several group shows in Baghdad, Egypt, Lebanon, USA, Greece, and Cuba, among others.