Catalogue > Liste par artiste

Following the likes of the experimental/avant-guard cinema, from Dziga Vertov, to Jean Vigo or Jonas Mekas, the video-artist wanders between heaven and earth in a summery Rome with his superzoom camera in his hand observing and spying – from huge distance – stars, planets and the diverse humanity that lives, photographs, and roam through the city.

Italian multi-disciplinary artist between Rome and Berlin, with a PhD in philosophical anthropology and life sciences, a master’s degree in journalism and a master’s degree in “philosophical counseling”. Over the years I have worked on various projects related to the creative fields (TV author, film distribution, music festivals) and online journalism (Dazed Digital, Huffington Post). In 2014 I created goodshortfilms.it, the first Italian platform entirely dedicated to short films. In 2017 I am co-author and co-producer of the documentary film ALBE – A Life Beyond Earth (80’), directed by Elisa Fuksas. In 2018 I wrote, directed, and produced my first shortfilm Microcosmo (exp. docudrama, 15’), an experimental docu-drama in competition in various festivals in Italy and abroad (Special Mention delivered by Fondazione Cinema per Roma for the UNESCO Creative Cities International Contest “The Ideal City”). In the same year, Macrocosmo (videoart, 8’) was selected in the “Art Foundations and Galleries” section at the 1st Videocittà event in Rome, in collaboration with RUFA – Roman University of Fine Arts, and Fondazione Pastificio Cerere. In December 2018 I opened my first solo show entitled “Where is my sacred?” inaugurating the new underground spaces (Spazio Molini) of the Pastificio Cerere Foundation in Rome. My artistic statement: here My obsession: memes My motto: “The actions of men the best interpreters of their thoughts” – J. Locke

"En 1982, l’éruption du volcan Chichonal a forcé la communauté zoque à émigrer. Filmé pendant six ans, (((((/*\))))) capte l’atmosphère unique de leur village du Chiapas. Cette promenade ethnographique ravit le regard, nous entraînant dans un voyage sonore rythmé par les musiques et les annonces commerciales pittoresques qui émanent des magasins ou des camionnettes ambulantes. Peu à peu, d’autres discours plus politiques font surface. À travers le portrait de ce micromonde, Charles Fairbanks et Saul Kak (artiste et activiste zoque) abordent aussi bien la richesse culturelle des communautés minoritaires que la pression néolibérale exercée sur les Autochtones et leurs terres, tout en se faisant l’écho de la situation douloureuse des réfugiés à travers le monde." (RIDM). Cette excursion ethnographique est un régal pour les yeux, rythmé par le refrain des sons quotidiens d'un village chiapanèque. Petit à petit, des thèmes politiques font surface. En racontant l'héritage des ancêtres réfugiés du coréalisateur Saúl Kak, (((((/*\))))) (ou "echos of the volcano") donne une voix à la lutte du peuple Zoque pour la souveraineté autochtone, contre un État néolibéral.

Saúl Kak est peintre et jouit d’une renommée internationale. D’origine Zoque, il parle cette langue depuis sa naissance. Sa pratique artistique est dédiée à la "cosmovisión" (la vision du monde) et aux droits de son peuple. Fils de campesinos, des paysans, qui ont fui l'éruption du volcan Chichonal en 1982, Saúl dirige le programme de résidence artistique de la Galería MUY, un centre d'art contemporain pour l'art et les artistes autochtones. Charles Fairbanks est réalisateur, écrivain et boursier Guggenheim. Ses films ont été diffusés sur POV et à l’Anthology Film Archives, New-York (USA); au CPH:DOX, Copenhague (Danemark); à Visions du Réel, Nyon (Suisse) et dans plus de 100 autres festivals sur six continents. Ensemble, Fairbanks et Kak aspirent à documenter les défis contemporains du peuple Zoque et sa vision unique du monde: la cosmovision. Leur précédent film "The Modern Jungle" a été nommé l'un des meilleurs films latino-américains de 2016 par de nombreux critiques. Il a reçu le prix du meilleur documentaire au Festival international Présence Autochtone, à Montréal (Canada), et les prix du jury à Slamdance, Park City (USA), et au Athens International Film and Video Festival, Athènes (Grèce).

Song for Being Alone is a one shot video-performance where sounds and images are brought together within a physical place- no digital editing technique was used. In this space-related performance the sound builds up subtly along a mysterious corridor. The camera discovers this rather unusual place but also plays the role of the listener. The path it follows activate and pass by the sound. Space and distance create a unique sound piece - bounding together both mediums of sound and video in a unique perceptive experience.

Mélissa Faivre, born 1989 in France, is an experimental video artist based in Berlin. Her contemplative and mesmerising work seeks to provoke questions on the nature of perception. Exploring notions of movement, repetition, performance and memory, she creates images that present blended and distorted realities that seek to test the temporal and spatial co-ordinates foundational to the perceptive experience. Mélissa’s videos demand an active viewer prepared to engage with the images she presents. Guided by aspects of performance and action, her films reject easily apparent and conventional narrative structures in favour of a visual-poetic experience in itself.

On September 24th 1987, the Serbian League of Communists in the former Yugoslavia held its 8th Session. The 8th Session was a meeting in which Slobodan Milosević won a significant vote over his main political rivals on his rise to power. The whole event was broadcast live on Yugoslav television. The 8th Session was an historical turning point, starting an era of ethnic conflict which ultimately lead to the break-up of Yugoslavia . Theta Rhythm is a meticulous reconstruction of that day, from the perspective of one of the administrators of the 8th Session, Mirko Fajfrić. Mirko is interpreted by his son Bojan Fajfrić, the director of this film.

Bojan Fajfrić was born in 1976, in Belgrade, Yugoslavia. His professional development has not been linked to Yugoslavia, which he left in 1995, when he went to study visual arts in the Netherlands. He graduated from the Royal Academy in The Hague and was the resident of the Rijks Academy in Amsterdam. However, in his works he has always referred to the country he grew up in, its political inheritance, as well as other social circumstances. His work presents a certain way of looking at history, one which stands at the intersection of personal memories, collective historical consciousness and the inevitable course of events. He uses mostly video installations as a form of expression. His works have been exhibited in many art galleries/spaces and museums: the Salon of the Museum of Contemporary Art, Belgrade; the Tirana Contemporary Art Biennial; De Appel, Amsterdam; MUHKA, Antwerp; Tim Van Laere Gallery, Antwerp; ARCUS, Japan; Spaport, Banja Luka, October Salon, Belgrade. Film Theta Rhythm was shown at the International Film Festival Rotterdam, International Short Film Festival Oberhausen, Seoul international NewMedia Festival, Viennale-International Film Festival Vienna, Human Rights Film Festival PRAVO LJUDSKI Sarajevo, Noordelijk Film Festival Leeuwarden, Impakt Festival Utrecht and Film Institute Netherlands.

``He has no coherent idea of himself, but all that he remembers is somehow connected to the city, although he has never lived, nor was born in the city, nor did he die in the city, or anybody else, as far as he knows. `` (Georgio Manganelli) Documentary scenes of wartime Osijek and a sound recording of Fritz Lang`s M create a macabre portrait of the city devastated by irrational forces and an invisible killer.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Case/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. Lives and works in Osijek.

Kangaroo Court is the second part of the multimedia reconstruction of the sequence from Fritz Lang`s famous movie M (1931), which began with the photographic replica of the scene of the illegal trial of the psychopathic murder in Berlin underground. In the first phase, the Berlin half world was revived by two hundred costumed actors, rounded up in a devastated former Zagreb factory. Two film cameramen kept a look out on the process of their costumed retro-initiation to Lang`s universe, which was in the film ?reconstruction of reconstruction? additionally underlined by the counter-point of documentary material and fragments from the sound track with dialogues from M.

Born in Crnac (Croatia) in 1953. He is working on experimental film, photography, video, and video-installations. From 1975 to 1977 he was the editor of The Film-lovers panel in Osijek, than went on to direct film program of the Students` Centre (1981-1988), and since 1992 he has been the editor of the film program of Osijek Cinema. He has been shooting films and video works since 1975. Since 1979, he has regularly participated in conceptualist activities and exhibitions, held video and film performances, built installations and made multimedia presentations. In 1995, he participated at the Venice Biennale (A Casa/At Home2), and in 2002, he represented Croatia at the 25th biennale in Sao Paolo. He won numerous awards, including the Grand Prix at 11th Days of Croatian film, the 2002 "Vladimir Nazor" award, and the Grand Prix of the 39th Zagreb salon in 2005. He was the founder and manager of the "Kazamat" gallery in Osijek (2001-2004) and organizer of the Performans art festival since 2001. He lives and works in Osijek.

?Pusta? or wasteland (aftre the Hungarian word ?puszta?), designates a spacious, level steppe in Hungary; it is a spacious, lever terrain which is not worked, but used for raising livestock, horses and pigs in the open. The puszta is a form of organised, planned, collective habitation, specific to Hungary, Slavonia and Baranja, constructed in 18th and 19th centuries on the nedless Slavonian plains owned by well-to-do aristocratic families. The wasteland was always inhabited by those who had no land, settlers, rstless spirits, wanderers unable to stay in one place, but there were those who stayed in the wasteland for generations. The film was shot by hand-held camera, and is all in subjective takes. The main ?character? in the film is light. Light reveals characters and objects, without care for the composition of the shot ou using artificial lighting. Simultaneously with the shooting of the refraction of light, the spreading ? ringing of sound is recorded. And the most important ? silence, because in the wasteland, on that ?island? with no visiable boundary between the sky and the eart, in that prison with no fences, silence is louder than the noise of any city.

Faktor was born in Crnac, Slavonia, in 1953. He deals with experimental film, photography, video and video installations. He has shot films and subsequenly videos ever since 1975. Since 1979 he has taken part in conceptualist actions and exhibitions, film and video performances, mounted installations and done multimedia shows. In 1995 he took part at the 46th Venice Biennale (A Casa/At Home 2) and in 2002 was representative of Croatia at the 25th Biennial in Sao Paolo. He has won numerous prizes and awards, including the Grand Prix at the 11th Croatian Film Days, 2002, the annual Vladimir Nazor Prize for film, 2002, and the Grand Prix of the 39th Zagreb Salon, 2005. From 1975 to 1977 he was the editor of the panel of the Film Lovers Club in Osijek; from 1981 he ran the film programme at the Student Centre, and from 1992 to 2006 was the editor of the film programme of Osijek Cinematography. He is the founder of the Kazamat Gallery in Osijek and managed it from 2001 to 2004, and has run the Performance Art Festival since 2001. Since 2001 he has been the director of Osijek?s City Galleries. He lives and works in Osijek.

Synopsis: Les coups sur la porte ne révélaient pas ce qui se cachait derrière... J`aurais souhaité être mort, mourir entre leurs mains, avant que la peur ait raison de moi.

My name is Mahmud Farag, I am 28 years old, from Alexadria, Egypt. In 2005 I graduated from the faculty of Education in Arabic Language and Education at Al-Azhar University in Cairo. My interest in cinema started when I was a teenager but as a student in Al Azhar school I was not allowed to study cinema. So, in these years I cultivated my passion for cinema by reading and watching movies, and attending workshops (Script writing workshop at French Cultural Centre in Alexandria, 2004). In 2005 I made my first digital video experiment, which is film Fabrica, based on the debut poetry collection Bel-Amsy Faqadtu Zirran (Yesterday I Lost A Button) written by the Alexandrian poet Tamer Fathy (Sharqyat, Cairo, 2005) In 2006 I wrote and directed the film Kurras Kharayt (Blank Note), which tells about the inner thoughts of an intellectual, his relation with girl-friend and his friends, and his inner conflict with himself and the society.Both the films are mini-dv, their duration is 15 minutes and have been shown in Cairo and Alexandria in the Cinema Cultural centre, Syndicate of Journalists and at the Indipendent Film Cairo Festival. In 2006 I enrolled the High Cinema Institute and I obtained my second degree in Scriptwriting and Cinema Studies in 2010. During this four year study period I wrote and directed some documentaries (Nubat Sahyan (Sudden wake) and Al-dar darak (The center is yours). I also wrote scripts for the graduation movies of some students from the direction department in the academy. My last scriptwriting work is "Pale Red", which has been awarded with many prizes inside and outside Egypt ( Best short film prize for in Alexandria International Film Festival (2010) - Best short film prize in Carthage Film Festival, Tunis (2010) - Best short film prize in Kazan International Film Festival, Russia (2010)- Best film in the Independent film festival at the French Cultural Centre in Cairo, 2011). In the last year I also worked as Assistant Script-writer of Dr. Rafiq El-Sabban for the next-coming film As-Samt (The silence) and for the next-coming series Akhir Ayyam Ghrnata (The last days of Granada). This year, I also had a very interesting experience from my work as assistant with two photographers. The first one wanted to meet the new generation of the revolution, the youth of the new Cairo. My second work was about the families of the martyrs of the revolutio. Beside my interest in cinema, I also have a passion for visual arts. Painting, to me, is the unloading extra energy process, and the teacher of patience. Later I started making pieces of arts from old garments and unused plastic pieces. In May 2010, I was awarded the best painting prize in the ?Funny Nature? artistic competition organized by the association L?Arbre des égrégores, Paris, France.

John Giorno (né en 1936), poète de la beat generation, récite passionément son poème «Just say no to family values» (1995). Il essaye avec une grande détermination de persuader son auditeur de profiter de la vie au maximum de son potentiel, et de ne pas se satisfaire avec moins. Dans les mots de Giorno, cela donne : « Le tabac est une substance sacrée pour certains, donc même si vous avez arrêté, faites preuve d?un peu de respect. L?alcool est complètement génial, célébrons les glorieuses vertus de la pinaille, et j?ai passé un bon moment avec toi. » Cependant, ses mots sont perdus pour la frêle petite femme qui regarde distraitement ce poète gesticulant, cet étranger. Elle est assise en face de son habitat décrépi, le rideau voguant de temps à autre au gré du vent. Dans ses vêtements dernier cri, Giorno est comme un cheveu dans la soupe au milieu de ce décor simple. La femme et le petit hameau de Tursi représentent précisément tous ces standards et valeurs qui devraient être, pour Giorno, évacués avec l?eau du bain. La région de Basilicata, où se situe Tursi, est sa terre d?origine: ce poète italo-américain qui a fait partie de la scène underground des années 60, jouait le premier rôle dans Sleep, d?Andy Warhol (1963), et fréquentait des personnes comme William S. Burroughs. John Giorno se donna pour mission d?amener la poésie parmi les gens dans l?esprit de la production de masse. Les images lucides d?Antonello Faretta nous montrent sans équivoque que la passion de Giorno pour la poésie est toujours bien vivante.

Antonello Faretta est né en 1973 à Potenza. Il est photographe, réalisateur et producteur. Il a collaboré avec des réalisateurs comme Abbas Kiarostami, Marco Bellochio, Saverio Costanzo, Giacomo Campiotti, Peter del Monte, Babak Payami. Il travaille également pour la Rai, Sat Arte et T9. Il réalise de nombreux films, parmi lesquels Lei lo Sa, Da Dove Vengono le Storie, Il vento, la Terra, Il Grasso sulle mani, 20Venti, Silenced Thoughts, et Just Say No to family values. Ses oeuvres ont été montrées dans de nombreux festivals, chaînes de télévision, galeries et musées de part le monde, et ont reçu de prestigieus prix. En 2002, Antonello Faretta fonde une production indépendante, Noeltan Film, qui produit ses propres oeuvres comme celles de jeunes artistes internationaux : presque 40 films ont été ainsi produits jusqu?à ce jour. En 2004, il fonde l?Atelier del Cinema di Potenza et le festival international du film de Poteza dont il est le directeur, et pour lequel il a reçu en 2006 le prestigieux Targa per Meriti Culturali du Président italien Giorgio Napolitano.

Ellipsis is part of a trilogy called Conic Trilogy, based on an island called Orford Ness off the Suffolk coast. This small island has been the site of a number of activities over the years which touch upon the political and includes scientific research, espionage, international communications, military equipment testing as well as being a First World War prison camp. In making this video work Farhid implemented a mathematical concept based on a geometry of surfaces and curves: Ellipse (from Greek åëëåéøéó meaning ?to come short?). can also be described as the intersection of a plane with a conic surface when the inclination of the plane to the base of the cone comes short of the inclination of sides to the base. Ellipse through its Greek etymology, also has non geo-mathematical characteristics, ?Ellipsis? refers to: ?missing words in a sentence? which would be needed to complete the grammatical construction or fully to express the sense. Conceptually the video takes the form of a set of fragmented narratives, an eclectic mix of images drawn from a range of different sources and collaged together to make a coherent but inconclusive whole. Whilst images filmed on Orford Ness constitute the main structure these are as it were glimpses of the islands usage , its surveillance equipment, idiosyncratic architecture and ground markings where once secret military equipment was tested. Added to this are a range of images that refer to the act of leaving, escaping, migration and transience perhaps a reference to the instability of what might appear as fixed, stable and even autocratic

Nooshin Farhid was born in Tehran, Iran and now lives and works in London. She came to the UK as a political refugee. She has been involved in a number of exhibitions, film festivals and screenings of her video works internationally. Her work is primarily concerned with the moving image, which takes the form of single screen works, installations, interventions and animation. Her video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness and a deliberate disjuncture that ruptures the familiar trajectory of the traditional narrative. This agitation and an unwillingness to settle for what is ?on offer? (this is the way things are) reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces that we encounter on a daily basis both within the social space of the everyday and also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events and chance meetings. At the same time she appropriates that form of ?making dumb?, the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. It is within this approach to her work that her radical position is to be found, her deliberate lack of regard for status, image hierarchy and historical continuity allows for an essentially tangential trajectory to her subject matter.

Conic Trilogy Study 2 explores the idea of machinery through its rhythmical and continuous production processes, the early association with a human being is quickly supplanted by the power and energy of the heavy machine. Filmed in black and white there is a poetic quality to the images which is added to and emphasized through the early slowing down of the movement. The viewer is lured into this sense of the ?romance? of the machine and its potential for endless production and the efficiency to manage that production without human interference. However the outcome of this reliance on the mechanical is answered in the latter part of the film. This is a powerfully metaphorical work that relates to contemporary political systems and movements.

Nooshin Farhid was born in Tehran, Iran and lives in London. She has been involved in a number of exhibitions, screenings and festivals both nationally and internationally. Nooshin Farhid?s video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness, a sense of things not being right. This agitation and an unwillingness to settle for what is ?on offer? ( this is the way things are ), reflects upon the current state of things socially, politically and ideologically. Though not overtly political, for such a strategy inevitably enables privileged authority to manipulate the artist into the cul de sac of irrelevance, this work continually picks away at those familiar stabilising forces we encounter on a daily basis both within the social space of the everyday but also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events, chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of state surveillance.

Criss Cross opens with a single image of a parked car lit only by a street light, although this ?minimal? scene is countered by the imposition of redness, infa red or night vision. This opening image in many ways sets the agenda for what is to follow, the colour red coupled with the overpowering element of water, a double saturation both literally and metaphorically. Criss Cross appropriates images from particular areas of media representation, the video takes genres that would appear to come from areas that might be generally referred to as ?low life? or an underworld of sexual exploitation and criminality. What follows from the opening sequence is a series of image clips, fragments, as if wrenched from more prolonged narrative sources, these visual fragmented elements have in common the night, what goes on in the night, what goes on in the ?after dark?. There is an almost subterranean quality to the series of rolling images, cars being broken into, sex chat line conversations, clandestine meetings in dark streets, empty car parks as sites of secret exchange and the imposing sounds and images of law enforcement, however the latter seem only on the periphery of this darkness.

Nooshin Farhid was born in Tehran, Iran and lives in London, she has been involved in a number of exhibitions, screenings and festivals internationally. She also co curated a number of exhibitions including ?Use this kind of Sky? which manifests as gallery show, video installation, radio broadcast, film/video screening and publication (www.nooshinfarhid.com). Nooshin Farhid?s video works whilst employing different subjects and scenarios have a connecting thread, a commonality, namely there is a certain kind of agitation, a restlessness, a sense of things not being right. This agitation and an unwillingness to settle for what is ?on offer? ( this is the way things are ), reflects upon the current state of things socially, politically and ideologically. This work continually picks away at those familiar stabilising forces we encounter on a daily basis both within the social space of the everyday but also within the domain of contemporary art itself. Farhid?s work is eclectic and conceptually nomadic, she uses the camera as a visual notebook collecting fragments of encounters, events, chance meetings that collectively question the incessant drive towards normality and conformity through the pressure of state surveillance. At the same time she appropriates that other form of ?making dumb? the popular media ? soaps, reality TV, Bollywood, MTV. This raw material is savagely and uncompromisingly edited and undergoes a form of post production, collaged fragments are welded together, each one activating and qualifying its predecessor. This process produces a contemporary surreal space that re-presents the familiar into that which is astonishing and invites the viewer to reconsider.

« Sleepwalker » se concentre sur un unique personnage, un jeune homme que l?on voit errer dans des espaces urbains banals, apparemment à la dérive, sans aucun but et seul. Toutefois, cette errance fait rapidement place à la prise de conscience qu?il existe un courant sous-jacent d?une autre sorte d?espace psychologique. Le jeune homme commence à étudier son environnement, en touchant les choses, en testant leurs surfaces comme s?il n?était plus certain de leur stabilité matérielle, comme si elles contenaient quelque de chose de menaçant à son égard. Ce faisant, il déclenche un autre type de réalité qui peut être vue comme un flash-back, comme le souvenir d?expériences antérieures ou comme une certaine forme de névrose. Ces images menaçantes, filmées à travers un filtre bleu, proposent un espace liminal de paranoïa, d'anxiété, ou peut-être de fantasmes ; s?instaure alors, de façon progressive mais insistante, une fracturation et un flou entre la notion de réalité et l?espace de la psychose, comme si les règles du jeu qui déterminent notre compréhension du fonctionnement des choses étaient en train d?être brisées.

Les vidéos de Nooshin Farhid s?approprient différentes situations narratives et genres cinématographiques, en les re-présentant dans des scénarios nouveaux et dérangeants. Son point de départ est souvent l'ordinaire, le banal ou le culturellement familier. Elle observe attentivement ces événements banals, en les isolant et en les montant de telle façon qu'il existe une interaction entre la lucidité et la raison, l'obsession et la folie. Structurellement, ces vidéos apparaissent souvent fragmentées et incohérentes. La reconnaissance d?un genre cinématographique est perturbée, de manière à éviter continuellement la sécurité d?un territoire narratif familier, ce qui ne permet donc pas au spectateur de contrôler pleinement ce qu?il est en train d?éprouver. Mais, tout au long de ce voyage « schizophrène », une certaine logique du sens trace son chemin à travers la complexité de l??uvre.

"Aux ouvriers d?une société industrielle se substituent les technocrates issus de l?ère informatique. La vision de la gestion des moyens de transport est saisissante : les employés des années vingt s?occupant de la surveillance des transports ferroviaires sont remplacés par des caméras vidéos reliées à des centres où un personnel surveille les écrans et analyse la multitude d?images reçues. Prenant la suite de L?homme à la caméra, les images sans cameraman de Farocki témoignent d?un regard critique sur notre société, où le développement des moyens de communication génère des outils de surveillance toujours plus puissants et conduit à la négation de l?individu."

Harun Farocki est né en 1944 à Neutitschein en Tchécoslovaquie alors indexée par l`Allemagne. De 1966 à 1968, il étudie à la Deutsche Film and Fernsehakademie de Berlin et est depuis cette date réalisateur freelance, de 1993 à 1999, il est lecteur à l?Université de Californie à Berkeley, depuis 2000 il enseigne à la Hochschule der Künste de Berlin au sein du dépatement Média. Ces films abordent les notions de politique et de mass média à partir d?un travail d?archives, de recherches et de réflexions théoriques sur la société contemporaine. Harun Farocki vit et travaille à Berlin.

"Respite" se déroule à Westerbork, un camp de transit des déportés vers Bergen-Belsen et Auschwitz. À la demande de l?officier SS Gemmeker, le Juif Allemand Breslauer a filmé avec une caméra 16mm un convoi en partance pour les camps de la mort, ainsi que des scènes de travail et de loisir.

Harun Farocki est né en 1944 à Neutitschein en Tchécoslovaquie alors annexée par l`Allemagne. De 1966 à 1968, il étudie à la Deutsche Film and Fernsehakademie de Berlin et est depuis cette date réalisateur freelance, de 1993 à 1999, il est lecteur à l'Université de Californie à Berkeley, depuis 2000 il enseigne à la Hochschule der Künste de Berlin au sein du département Média. Ses films abordent les notions de politique et de mass média à partir d'un travail d'archives, de recherches et de réflexions théoriques sur la société contemporaine. Harun Farocki vit et travaille à Berlin.

"Respite" se déroule à Westerbork, un camp de transit des déportés vers Bergen-Belsen et Auschwitz. À la demande de l?officier SS Gemmeker, le Juif Allemand Breslauer a filmé avec une caméra 16mm un convoi en partance pour les camps de la mort, ainsi que des scènes de travail et de loisir.

Harun Farocki est né en 1944 à Neutitschein en Tchécoslovaquie alors annexée par l`Allemagne. De 1966 à 1968, il étudie à la Deutsche Film and Fernsehakademie de Berlin et est depuis cette date réalisateur freelance, de 1993 à 1999, il est lecteur à l'Université de Californie à Berkeley, depuis 2000 il enseigne à la Hochschule der Künste de Berlin au sein du département Média. Ses films abordent les notions de politique et de mass média à partir d'un travail d'archives, de recherches et de réflexions théoriques sur la société contemporaine. Harun Farocki vit et travaille à Berlin.

Recycling materials with historic meaning are being put together by apprentices and professionals to erect a temporary event pavilion in front of the Bauhaus Archiv in Berlin. The determining architectural elements of the pavilion are about 100 meters of re-used steel windows from the original Bauhaus building in Dessau. The process is in its aspects a declaration of love for the ideas of the Bauhaus.

In their films, illustrations and educational / curatorial work the Berlin-based artist duo Faroqhi & Peretz choose various themes such as biography, architecture and history. Their work examines social issues and critically deals with the way images are being produced and received as well as how stories are being told. Anna Faroqhi is a filmmaker and illustrator. Haim Peretz is a technician and filmmaker. Their body of work contains films, texts and illustrations as well as educational works and has been presented internationally in museums and art events. Faroqhi & Peretz teach video for opera directors and singers at Hochschule für Musik „Hanns Eisler“ Berlin. They also are engaged in the education of film and illustration to children and adults at various public schools, museums and institutions. Here, they are part of the Arsenal Film Studios at the Arsenal Institute for Film and Video e.V., Berlin. Faroqhi & Peretz’ work has been shown Museum Hamburger Bahnhof Berlin, Saalbau Neukölln Berlin, Akademie der Künste Berlin, Martin-Gropius-Bau Berlin, Manifesta Italy, New York Film Archives, Goethe Institute Tel Aviv etc. The duo is currently working on a multimedia installation documenting refugee stories.

The film shows a preoccupation with movement and stillness. It mimics the act of ?scouting?. By ascending the mountain to its foggy summit, it suggests a motion, seeking areas in which to pause and explore stillness; a journey through a series of derelict places that are rich with suggestion and significance. We are led to an elevated place; however, one where clarity is fading.

Anthony Faroux was born in Aix en Provence in 1971. He went to school in Lebanon and Morocco. He studied art in France and UK. His practice is video, film and painting. He has been in residence at the British School of Rome in 2007 and just returned from a year living and working at the Durham Cathedral artist residence. His work has been shown across Europe for the last five years. He is currently working in London.

Whistling can be heard, there is a natural reverb, the sounds ascend up and it comes from outside the frame, from the streets. People on roofs keep looking down and up; some don?t seem to care drinking coffee and talking, a man stands up and start shaking a stick as he looks up, one shacks a big green and yellow umbrella. Bab el Ramaal is located north of the city of Tripoli in Lebanon.

Anthony Faroux b in Aix en Provence, is an artist based in London. He received an MA from the Royal Academy Schools in 2007.He completed his undergraduate education at the School of FIne Arts, Marseilles. He is currently Artist in residence at the Durham Cathedral and was awarded a residency at the British School in Rome in 2007/08. His work shown widely in London and internationally, including a Hex Project space commission in London this year. His work was screened at the Goethe Institute in Cairo, Egypt. Faroux presented a solo Exhibition at Five Years, London in 2010.

"covert Loadstones" was originally released as a seven inch lathe record, produced by Tokyo-based record label "a binary datum" at the beginning of 2006. The recording is a performance of five of the artist's growth machines (manipulated tape machines), each contained in a polystyrene container, orchestrated to play noise with and against the boundaries of their cyclical norms. Each machine acts like a loadstone, believed to possess magical qualities and the power not only to attract, but to be attracted magnetically. The interaction between the eight-ohm speakers (outside the bins), contact microphones, tape-heads, and electronic components (inside the machines), and the air in between, are heard as call and response in the form of feedback, vibration, and electrical sine waves. The recorded noise possesses the whispers and disruptions of the invisible beings of the air, the class of immortals that belong somewhere between the material and immaterial, between those who have bodily frame and those who do not, mentioned by the medieval physician Paracelsus as the sylph. For Rencontres Internationales Paris/Berlin, Fassonaki plans on doing a live sound performance of ?covert Loadstones?. He will perform using the five growth machines, oscillator, delay pedal, and ring modulator used in creating the recordings; with the addition of my prepared laptop running a max/msp patch. As the machines rest on a table, hidden in their stark white enclosures, they will carry on their cyclical behaviourisms of tape-head amplification, spinning rollers, and feedback activities. Once they are approached and played, a process of becoming takes place - the sounds change from their repetitive nature into something alive and imaginary. The performance of ?covert Loadstones? will reveal this area of becoming or composed order, and that of unbecoming or diminishing structure, as signified by the sylph. As in previous performances where Fassonaki has enlisted various sound artists to participate he will invite New Zealand experimental musician Andrew Scott to perform the machines with him. The spontaneous and unpredictable interventions of another artist further diminishes set parameters, allowing the work to breathe organically. While Scott interacts with the machines, Fassonaki will be manipulating some of the incoming signals on her laptop creating a constant and unpredictable exchange of the raw and processed sounds.

yek koo is Helga Fassonaki, a sound and intermedia artist who recently relocated to Los Angeles, bringing with her a handbag of noisy transpositions, which she is covertly arranging under her solo name, yek koo. Her recent projects include "métal rouge", a sound collaboration with New Zealand musician Andrew Scott, and yek koo live performances and recordings using santur (Persian dulcimer), non-tape tape players (growth machines), Persian setar (sehtar), and other sound-generating transpositions. Fassonaki received a Bachelor of Art from the California Polytechnic State University, San Luis Obispo in 2000 and a Master of Fine Art from the University of Auckland, New Zealand, in 2006. During the past few years, she has participated in sound events and festivals such as Alleluya Noise and Transacoustic festivals in Auckland and Soundwalk2005 and 2006 in Long Beach, California. Fassonaki?s manipulated tape machines, sound-generating wind turbines, and noise creating installations reflect the desire to reveal the sonorous qualities of otherwise commonplace sounds, not as purely musical events, but rather as referential layers, "unencumbered by aesthetics" (Alan Kaprow, 1966).

“Jeg Er Enorme Jaevler I” is a video about the human incapability of expressing accurately their deepest feelings. It’s also a joint about depression, satanism, revenge and payback time. There is a lot of good music in it: Black Metal, Rap, Witch House and Bon Jovi. It’s full of 3d animations, texts and found footage too.

Lives and works in Asti. He makes works that explore and question the processes and the strategies regulating the production of contemporary artworks. In 2012 he created sibi, an instructions generator for the production of potential artworks. The software has been tested in workshops in collaboration with Universities and art institutions. In 2014 he presented Jeg Er Enorme Jaevler I, a 90 minutes movie in two parts and a performance. He has exhibited and performed his work at Carroll/Fletcher, London, ZHdK, Zurich, MARS Gallery, Melbourne, MAMbo, Bologna and Link Cabinet among many others. He was part of the Jury Selection of the 17th Japan Media Arts Festival and he has been recently selected for the Live Work Performance Act Award in Fies (Dro).

Proposée pour la première dois à Londres, cette installation vidéo en noir et blanc met en scène un personnage cherchant à taper à la machine le titre au moyen de marteaux. Seul le ruban est rouge, laissant penser que le texte s’affiche en lettres de sang, dans un télescopage de « la beauté de la phrase à écrire avec la violence et la difficulté de sa réalisation. »

Born 1970, Tangier, Morocco
Lives and works in Paris, France mounir fatmi`s work has been shown in numerous solo exhibitions, in the Migros Museum, Zürich, Switzerland, at the Picasso Museum, war and peace, Vallauris, at the FRAC Alsace, Sélestat, at the Contemporary Art Center Le Parvis, at the Fondazione Collegio San Caro, Modena, at the AK Bank Foundation in Istanbul, and at the Museum Kunst Palast in Duesseldorf. He participated in several collective shows at the Centre Georges Pompidou, Paris, The Brooklyn Museum, New York, N.B.K., Berlin, Mori Art Museum in Tokyo, Museum on the Seam, Jerusalem, Moscow Museum of Modern Art, Moscow, Mathaf Arab Museum of Modern Art, Doha, the Hayward Gallery, London, the Art Gallery of Western Australia, and Victoria & Albert Museum in London. His installations have been selected in biennials such as the 52nd and 54th Venice Biennial, the 8th biennial of Sharjah, the 5th and 7th Dakar Biennial, the 2nd Seville Biennial, the 5th Gwangju Biennial and the 10th Lyon Biennial, the 5th Auckland Triennial and Fotofest 2014, Houston. Mounir Fatmi was awarded by several prize such as the Cairo Biennial Prize in 2010, the Uriöt prize, Amsterdam and the Grand Prize Leopold Sedar Senghor of the 7th Dakar Biennial in 2006

« The Human Factor » est une video expérimentale qui traite de l’art décoratif et de l’exotisme. Sur fond d’exposition coloniale internationale de 1931 à Paris qui s’est déroulé pen-dant l’entre deux guerres, certaines oeuvres indigènes des colonies côtoyaient celles des principales puissances coloniales de l’époque au sein de pavillons rappelant l’architecture de l’Afrique noir, de l’Afrique du nord, ou de l’Indochine. La vidéo « The Human Factor » décompose le film « L’inhumaine » de Marcel L’Hérbier (1923). Ce film est considéré encore aujourd’hui comme le manifeste de l’art dé-coratif. Ce chef d’œuvre du cinéma muet, tourné dans des décors modernes et spec-taculaires pour l’époque, retrace l’esprit du temps et les influences des artistes euro-péens par les créations venant des Art lointains. « L’inhumaine » regroupe de ma-nière inédite des artistes, décorateurs, costumiers et architectes, comme Robert Mallet-Stevens, Fernand Leger, Alberto Cavalcanti, Claude Autant-Lara, Pierre Chareau, Michel Dufet, Joseph Csaky et Paul Poiret. « The Human Factor » tente de montrer un autre aspect de l’Art décoratif, sous la puissance de l’idéologie coloniale et son ambition universelle. Il faut dire que l’influence de l’art colonial n’est pas nouvelle en cette période de l’entre deux guerres. Elle existait depuis 1907 sous le nom de « la société coloniale des artistes français », et dont le but était l’expansion coloniale par l’art, au profit de la France. Des prix et des bourses de voyages ont été attribué pour aider des artistes comme Van Dongen, Matisse ou Paul Klee à séjourner en Afrique du Nord. En 1919 la revue « Les Arts à Paris » parle déjà de l’art « nègre » comme d’ « Une esthétique nouvelle » qui risque d’influencer complètement l’art européen. Ainsi les masques et les sculptures africaines sont devenue de vrais objets de curiosité et d’inspirations pour des artistes comme Picasso, ou Fernand Léger qui a conçu tous les costumes et les décors du Ballet Suédois « La création du Monde » en s’inspirant de « l’Art indigène et africain ». Une autre exposition a été organisée en 1930 par Tristan Tzara, Pierre Loeb et Charles Ratton sous le titre « L’Exposition d’art africain et océanien ». Celle-ci constitue une étape primordiale dans l’histoire de l’appréhen-sion des arts premiers en occident. Le public parisien a pu voir alors des sculptures primitives exposées avec des œuvres de Pablo Picasso, André Derain, Georges Braque, Joan Miró, Paul Guillaume et Félix Fénéon. Puis vient finalement l’exposition coloniale de 1931 qui a affiché d’une manière claire l’idéologie coloniale n’évoquant les caractères originels des colonisés qu’à la condi-tion d’évoquer les bienfaits de la métropole et de ne montrer de la colonisation que les aspects positifs. A l’exception de quelques masques, statuettes et pièces archéologiques, les œuvres indigènes sont rares. On leur préfère en générale les spectacles de danses et de folklore, de ce fait dans le domaine artistique c’est le point de vue français et occidental qui fut privilégié. Il faut savoir aussi que cette vision n’a pas été partagée par l’ensemble des artistes français, puisque le groupe des surréalistes avec l’aide de Louis Aragon, Georges Sadoul et André Breton entre autres, a monté « L’Anti-exposition coloniale » sous l’égide du Part communiste français en diffusant un mot d’ordre sur le tract- « Ne visitez pas L’Exposition coloniale ». Ainsi la video « The Human Factor » aborde l’exposition coloniale qui a officialisé en quelque sorte le lien entre le primitivisme de l’avant garde et l’exotisme de l’art déco d’inspiration coloniale. Studio Fatmi, Septembre 2018.

mounir fatmi est né à Tanger au Maroc, en 1970. À l’âge de quatre ans, sa famille déménage à Casablanca. A dix-sept ans il part à Rome où il s’inscrit à l’école libre de nu et de gravure à l’académie des beaux-arts, puis à l’école des beaux arts de Casablanca et finalement à la Rijksakademie à Amsterdam. Il passe son enfance dans le marché aux puces du quartier Casabarata, un des quartiers le plus pauvres de la ville de Tanger où sa mère vendait des vêtements pour enfants. Un environnement qui multiplie jusqu’à l’excès les déchets et les objets de consommation en fin de vie. L’artiste voit par la suite cette enfance comme sa première éducation artistique et compare ce marché aux puces à un musée en ruine. Cette vision a également valeur de métaphore et exprime les aspects essentiels de son travail. Influencé par l’idée de médias morts et l’effondrement de la civilisation industrielle et consumériste, il développe une réflexion sur le statut de l’oeuvre d’art entre Archive et Archéologie. Il utilise des matériaux obsolètes tels que les câbles d’antenne, les anciennes machines à écrire, ou les cassettes VHS, et travaille sur la notion d’une archéologie expérimentale en examinant le rôle de l’artiste au sein d’une société en crise. Il joue des codes et préceptes de cette dernière sous le prisme de la trinité Langage, Architecture et Machine. Il interroge ainsi les limites de la mémoire, du langage et de la communication, tout en réfléchissant sur les matériaux en cours d’obsolescence et à leurs avenirs incertains. La recherche artistique de mounir fatmi, constitue une pensée sur l’histoire des technologies et leurs influences dans la culture populaire. BIOGRAPHIE Il faut voir ainsi dans ses oeuvres, de futures archives de médias en construction. Bien qu’ils marquent des moments clés de notre histoire contemporaine, ces matériaux techniques remettent également en question le transfert de connaissances, le pouvoir suggestif des images et critiquent les mécanismes illusoires qui nous lient à la technologie et aux idéologies. Depuis 2000, les installations de mounir fatmi ont été sélectionnées dans plusieurs biennales, la 52e et la 57e Biennale de Venise, la 8e Biennale de Sharjah, la 5e et la 7e biennale de Dakar, la 2e Biennale de Séville, la 5e Biennale de Gwangju, la 10e Biennale de Lyon, la 5e triennale d’Auckland, la 10e et 11e biennale de Bamako, la 7e Biennale d’architecture, Shenzhen, à la triennale de Setouchi et la triennale Echigo –Tsumari, au Japon. Son travail a été présenté au sein de nombreuses expositions personnelles, au Migros Museum fu?r Gegenwarskunst, Zu?rich. Mamco, Genève. Musée Picasso, la guerre et la paix, Vallauris. Fondation AK Bank, d’Istanbul. Museum Kunst Palast, Du?sseldorf et au Goteborg Konsthall. Il a participé à plusieurs expositions collectives au Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscou. Mathaf, Doha. Hayward Gallery et Victoria & Albert Museum, Londres. Van Abbemuseum, Eindhoven, au Nasher Museum of Art, Durham et au Louvre Abu Dhabi. Il a reçu plusieurs prix dont le Uriöt prize, Amsterdam, le Grand Prix Léopold Sédar Senghor de la 7e Biennale de Dakar en 2006, le prix de la Biennale du Caire, en 2010, ainsi que le Silver Plane Prize de la Biennale de l'Altai, Moscou en 2020.

Filmée au Liban par une Dash Cam entre le 18 octobre 2019, date à laquelle ont débuté des soulèvements populaires, et l’après-explosion du 4 août 2020, les images rendent compte des bouleversements politiques, sociaux et économiques que traversait le Liban durant cette période. Dans la première moitié du film, on assiste à l’engouement général des Libanais au début des manifestations de 2019. Mais au fil des mois, on assiste à l’exacerbation des tensions entre les manifestants et les forces de l’ordre. Avec les différentes étapes du confinement de la crise sanitaire de 2019-2020, les manifestations vont cesser et les rues se vider. La deuxième partie est essentiellement centrée sur le soir de l’explosion du 4 août 2020 où l’on découvre les dégâts, le chaos et la stupéfaction des habitants dans les rues de Beyrouth.

Artiste, chercheure et enseignante à l’École Supérieure d’Art d’Avignon, Sirine Fattouh est née en 1980 à Beyrouth. Les déplacements constants dus aux guerres et aux conditions socio politique ont forgés chez elle un sentiment d’exil intérieur qui l’amènent à explorer son environnement dans toute sa complexité et à y faire émerger des histoires d’individus dont la parole est marginalisé. Fattouh s’intéresse aux histoires non officielles celles qui sont considérées comme anecdotiques. Elle puise son inspiration dans son passé et son présent afin d’explorer la relation complexe qu’elle entretient avec son pays d’origine et les conséquences des conflits et des guerres sur la vie quotidienne des gens. Sirine Fattouh a fait ses études à Paris 1 Panthéon Sorbonne où elle a obtenu en 2015 une thèse en Arts plastiques et Sciences de l’art. Entre 2004 et 2006, elle a étudié à l’école nationale supérieure d’arts de Paris Cergy et a obtenu son DNSEP. Entre 2005 et 2021, elle enseigne les arts plastiques et l’histoire de l’art dans plusieurs universités en France et au Liban. En 2010 elle travaille pendant une année au centre Pompidou à Paris en tant qu’attachée de conservation pour le programme art et mondialisation auprès de Catherine Grenier. Ses œuvres ont été exposées dans de nombreuses galeries et institutions artistiques dont le Centre d’Art Pasquart à Bienne, le MAXXI à Rome, la fondation Ricard à Paris, le Centre Pompidou à Metz, le Mucem à Marseille, le Beirut Art Center, Kaaï Studio à Bruxelles, ZKM à Karlsruhe, Brick Lane à Londres, la Villa Savoye du Corbusier à Poissy, l’Institut du monde arabe à Paris et la Biennale de Thessalonique en Grèce.

Le Terrier (2) est une vidéo inspirée librement de la nouvelle inachevée de Kafka qui raconte l?histoire d?un être glissant dans la folie après avoir obsessionnellement construit son terrier, et qui se persuade que son refuge est menacé par l?arrivée d?un autre. Le Terrier (2) traite de ce moment de basculement au cours duquel la structure familière connue, et donc censée abriter, présente subitement une menace : une femme et un homme arpentent une rue dont on ne sait plus dire si les maisons se construisent ou ont été démolies par une catastrophe anonyme. Dans cette traversée d?une ville nouvelle de la banlieue parisienne, l?habitat se détache de sa fonction première, car on ne sait plus s?il accueille ou au contraire menace, et il force à se tenir aux aguets.

Elsa Fauconnet est une artiste française, née en banlieue parisienne en 1984. Après l?obtention d?un Bachelor of art à l?ENSAV-La Cambre à Bruxelles, elle obtient le diplôme de l?école des Beaux-Arts de Paris avec les félicitations du jury. À partir de la gravure, de la vidéo et de la photo, elle interroge les images dites du « réel ». Dans un premier temps, elle travaille essentiellement avec des images extraites des médias. Elle se réapproprie ces images qui nous content notre histoire contemporaine, et joue à remettre en récit l?Histoire et à en interroger sa matière conceptuelle. Puis, progressivement, ce sont ses propres images (le mur en Palestine, une ville en construction en France?) qu?elle va réintégrer à des fictions. Ces morceaux de réel ancrés dans une réalité historique apparaissent comme des vestiges. Ils sont des données concrètes et en même temps permettent le départ de fictions possibles dans l?interprétation que l?on en donne. Jouant ainsi sur plusieurs registres, les vidéos d?Elsa Fauconnet créent un trouble qui révèle la difficulté de se placer dans une histoire, un lieu, le réel et sa représentation. Dans son travail, il est aussi question de territoires, de frontières, d?habitat, de la recherche d?un chez-soi... Elle joue avec la notion d?étrangeté : en allemand le même mot désigne l?étrange et l?étranger. L?étrange serait-il le corollaire esthétique de l?étranger ? « Ce qui m?intéresse dans les notions d?étranger comme d?étrangeté c?est qu?elles ont pour effet de jeter un doute sur toute réalité familière, créant un moment propice à la distanciation. » Utiliser l?étrangeté afin de permettre une nouvelle observation et une nouvelle apparition des choses.

The film is a sharp-witted and humorous reflection on reality and identity in the global, digitalized world. The material was developed with, among others, the video editor of the video game Grand Theft Auto by Rockstar Games. Avatar Nico Bellic is the intellectual alter ego and reflects on artist Faulhaber’s projects. In a fast-paced mix of documentation and fiction, classic narration, video clip and virtual reality, the director relates his own biography and discloses how he continuously hacks at the boundaries of prevailing systems, how he seizes public spaces, disrupting and, at best, changing them. With his colleague Lukasz Chrobok, for example, he founded the fictitious security service Mister Security in 2005 with the intention of monitoring the security of public spaces. His activities were monitored and a scholarship he received in the USA was revoked after questioning by the FBI. Faulhaber’s work exemplifies just how interlaced images and politics are in our society: “I reach into this network meaning, I re-sort the images anew and by doing so create a short-circuit.”

Christoph Faulhaber was born in 1972. He studied engineering, architecture and fine arts and graduated from Hochschule für bildende Künste Hamburg in 2002. In 2005, Faulhaber ended up listed on the US terror watch list because of his performance `Mister Security`.

The center piece (Blue Sky ? Palau) is a documentary movie shot in Palau. In November 2009, six ex-detainees from the US Prison in Guantánamo Bay have been released to Palau, which is known for its sparkling water, shiny beaches and beautiful diving spots. Faulhaber traveled to the tiny island nation of Palau in the South Pacific to visit the six men, which are part of the uighur minority in western China. He interviewed their Australian interpreter and his Excellency, the President of Palau. Following his trip to Palau, Faulhaber went to Shenzhen, China, to visit the Oil Painting Village Dafen, which is the world`s biggest conglomeration for reproducing and copying artworks. In Dafen he worked together with local artists to reproduce oil paintings from the portraits of the six men that can never go back to their homeland Xinjiang, which is now under Chinese hegemony. In this series of work Faulhaber focuses on some main questions surrounding the ideological and philosophical notion of the `picture` today: How strong is the global prevalence and regime of the picture? What kind of pictures are we supposed to conceive when thinking of Guantánamo? What is the state of the picture with regard to a global system of industrialized tools for copies, imitation and reproduction? Or, as W.J.T. Mitchell has raised the question: `What is the work of art in the age of biocybernetic reproduction?`

?I don?t see myself, primarily, as a political artist,? says Christoph Faulhaber. Still, there?s something disconcerting about this claim. A quick survey of the projects he has carried out to date tells us about the sale of Cuban real estate to customers in Florida, a preoccupation with the future of Ground Zero, problems with the FBI in New York, Faulhaber?s name on the United States Terror Watch List and the planning of an allocation center for former Guantánamo inmates in Hamburg. These are topics which catch our attention and brush on important discussions conducted in the media on a daily basis. Hence, Faulhaber made a name for himself in 2007 with his project Mister Security, which he carried out jointly with fellow artist Lukasz Chrobok over a period of three years. The project encompassed several actions in the public realm as well as two publications. Christoph Faulhaber, born 1972, is today one of the most promising young German artists. His work has been shown amongst others at the National Gallery Prague, Museum of Contemporary Art Skopje, Laiyan Gallery Hong Kong, Schirn Kunsthalle Frankfurt, Wilhelm-Hack-Museum Ludwigshafen, City Museum Remscheid, Kunstverein Hannover and Fridericianum Kassel.