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Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.

Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later.

Born: Korean War, the pill, hydrogen bomb, playboy mansion. 1980s: Film emulsion fetish and diary salvos. Schooling at the Funnel: collective avant-geek cine utopia. 1990s: experimentalist features, transgressive psychodramas, questions of nationalism. 2000s: Seroconversion cyborg (life after death), film-to-video transcode: feature-length-found-footage bios. Fringe media archaeologist: copyleft author 7 books, co/editor 12 books. Curator: 30 programs + www.fringeonline.ca Occasional employments: artistic director Images Fest, fringe distribution Canadian Filmmakers. 80 film/vids, most redacted. 10 features. 70 awards, 15 international retrospectives. 3 lifetime achievement awards. www.mikehoolboom.com

« Public Lighting est une méditation sur la photographie et la création d'images, qui peuvent capturer, remplacer nos expériences, et leur survivre. Le film est divisé en 7 parties. Chaque chapitre est une étude de cas, de différents types de personnalités identifiés par le jeune auteur, qui nous guide dans le prologue. Le premier, homme gay, nous emmène faire la tournée des bars et des restaurants, où il a vécu des ruptures amoureuses. Il nous raconte sur le mode ironique ses histoires avec ses ex amants. Un hommage à Philipp Glass est suivi, de manière plutôt incongrue, par Hey Madonna, lettre de confession adressée à la chanteuse par l'un de ses fans, séropositif. Amy célèbre un autre anniversaire, mais avoue qu?elle n?a aucun souvenir de ce qu?elle voit à la télévision. Ceci dit, au moins elle a une caméra : "Je prends des images non pour m?aider à me souvenir, mais pour enregistrer mes oublis" . Hiro vit sa vie à distance, et s'aventure rarement au-delà de l'objectif. Un jeune mannequin anxieux raconte des événements poignants de son passé. Peu de réalisateurs se réapproprient le footage de manière aussi forte : à la fois drôles et incisives, ces images nous ramènent à des parties de nous-mêmes. Le travail récent de Mike Hoolboom a une telle empathie avec la condition humaine qu'il nous parle directement au c?ur. » Mark Webber, London film festival

Mike Hoolboom vit et travaille à Toronto, vidéaste et cinéaste, il a aussi écrit plusieurs livres, dont Plague Years en 1998, et Fringe Film in Canada en 2001. Il est membre fondateur du collectif Pleasure Dome, et a travaillé comme directeur artistique de l?Images Festival et dans le comité de direction de Canadian Filmmakers Distribution, pour le cinéma expérimental. Son travail a été montré notamment au festival de Berlin, de Rotterdam, de Locarno. Il a eu plusieurs rétrospectives dans huit grandes villes européennes.

Radical feminist, street fighter, practical dreamer. This lyrical doc, shot in super 8, recounts Judy Rebick’s pivotal role in securing women’s rights over their own bodies in Canada. She lays out the key tenets of second wave feminism, even as a family time bomb threatens. The film closes with a harrowingly personal account of a divided self, and a startling embrace of mental illness as creativity.

Mike Hoolboom (1959, Toronto). Media artist and writer. He was schooled at the Funnel, Toronto's former underground movie palace, and has made more than 100 movies since 1980. He is the author/co/editor of 30 books. There have been 20 international retrospectives of his work, and he has won more than 80 festival awards, including the Best Short Film Award in Toronto IFF two times. In 2009 he received the Bell Award in Video Art, presented by the Canadian Council of Arts "for the exceptional contribution to the advancement of video art and practices in the country".

Dans une suite de 15 scènes, la plupart se passant dans un seul plan d'ensemble, l'héroïne russe renégocie son pacte avec le capitalisme russe, et avec les nouveaux corps et relations qu'il a rendus possibles. Tourné à Saint-Pétersbourg au cours d'un automne ensoleillé, alors que nos visages pouvaient encore supporter l’ancienne lumière.

Alena Koroleva est d’origine russe. Elle est artiste et curatrice multidisciplinaire. Co-fondatrice du Kinodot Experimental Film Festival, St-Pétersbourg (Russie), elle a créé quelques films courts et œuvres sonores. Mike Hoolboom réalise des films et écrit.

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Artiste majeur de la scène canadienne des années 70, Collin Campbell, maître du "drag" dans ses vidéos, était un provocateur du genre. Bien plus qu`un simple portrait d`un artiste et de son époque, le film est une réflexion captivante sur le désir d`images et sur l`emprise qu`exercent celles-ci. Mike Hoolboom cinéaste expérimental prolifique et passionnant nous livre ici un film à la narration innovante et d`une exceptionnelle beauté. Mais "Fascination" est avant tout un film sur vous...

Mike Hoolbloom est un vidéaste et réalisateur canadien, souvent considéré comme l'un des réalisateurs expérimentaux les plus talentueux de sa génération. Il est l'auteur de deux livres : "Plague Years" (1998) et "Fringe Film in Canada" (2001). Co-fondateur du collectif de programmation Pleasure Dome, il a été directeur artistique du Images Festival et coordinateur de la section cinéma expérimental du Canadian Filmmakers Distribution Centre. Il a remporté plus de trente récompenses internationales. Ses ?uvres ont notamment été présentées au Musée d'Art Moderne, au Centre Pompidou et dans des festivals majeurs. Neuf retrospectives lui ont été consacrées, la dernière à Buenos Aires.

Dark north. Beneath an expanse of sky, a night of flesh absorbed in fever.

Devin Horan was born 1982 in the United States. He got his diploma in Art History from Columbia University in New York City. He also worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift as a camera assistant. ?Boundary? is his first film.

Set among an isolated community in a remote landscape near the Russian border, BOUNDARY evokes a space of ambiguity, a psychogeography, an absence of personal histories. It is the first installment in a tetralogy of films based on a statement by Sadeq Hedayat: ?In life it is possible to become angelic, human, or animal. I have become none of these things.?

Born 1982 in the United States. Graduated in Art History from Columbia University in New York City. Worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift (Indigene d`Eurasie) as a camera assistant. BOUNDARY is his first film.

thirteen images two texts two pieces of music the cast of characters are all young soldiers a painted death mask stares into the future at the unborn generations a giant roams the landscape like some fucking asshole stalking the whole human race he wades through an endless river of blood and piss in full awareness of the animal drives rolling life through time

Devin Horan worked at Lithuanian filmmaker Sharunas Bartas’ Studio Kinema on the crime road-film Eastern Drift (Indigene d’Eurasie) (Berlin Forum section 2010). After that he made his first film, Boundary (2009), which was named one of the top ten films of the last decade in Cinemascope’s poll “The Decade in Review”. His next film, Late and Deep (2011), premiered in the Horizons section of the 68th Venice Film Festival and was nominated for the Berlin National Gallery’s Preis für Junge Filmkunst (Young Film Art Award) in 2013. Akra (2017), a surreal black comedy, was filmed in Tbilisi and Imereti, Georgia, with an international cast and crew, starring mostly Georgian actors. He was the editor of Pages of Natural History, directed by his long-time collaborator Margherita Malerba, which premiered at the 30th edition of FID Marseille International Documentary Festival, and he is currently co-writing and editing her new film The Book of Hours. Grodek was a film in two versions. The first premiered again in IDFA’s Paradocs in 2014. The new version premiered at the 33rd FID Marseille Festival in 2022 in the Flash Competition. He is also a visual artist whose work has been published in two books by Infinity Land Press. The Animals Are Sick With Love was finished in July 2023. Since 2018 he has been teaching courses in directing, screenwriting, and subversive cinema at the Caucasus School of New Cinema, the Georgian Institute of Public Affairs, and Free University in Tbilisi, and at the Moscow and St. Petersburg Schools of New Cinema. He is also teaching an ongoing series of public courses in Tbilisi called The Act of Seeing, Found Footage Cinema, The Call of the Wild, The Forest Passage, Fascinations, and Adventures.(https://www.facebook.com/DocumentaryCourseSeriesTbilisi)

From the slaughter-bench to blessedness - Human sacrifice and the meaning of the earth - The congested planet is moaning, boxes all over the world are moaning - But - have you heard - the good news?

Devin Horan worked at Lithuanian filmmaker Sharunas Bartas’ Studio Kinema on the crime road-film Eastern Drift (Indigene d’Eurasie) (Berlin Forum section 2010). After that he made his first film, Boundary (2009), which was named one of the top ten films of the last decade in Cinemascope’s poll “The Decade in Review”. His next film, Late and Deep (2011), premiered in the Horizons section of the 68th Venice Film Festival and was nominated for the Berlin National Gallery’s Preis für Junge Filmkunst (Young Film Art Award) in 2013. Akra (2017), a surreal black comedy, was filmed in Tbilisi and Imereti, Georgia, with an international cast and crew, starring mostly Georgian actors. He was the editor of Pages of Natural History, directed by his long-time collaborator Margherita Malerba, which premiered at the 30th edition of FID Marseille International Documentary Festival, and he is currently co-writing and editing her new film The Book of Hours. Grodek was a film in two versions. The first premiered again in IDFA’s Paradocs in 2014. The new version premiered at the 33rd FID Marseille Festival in 2022 in the Flash Competition. He is also a visual artist whose work has been published in two books by Infinity Land Press. The Animals Are Sick With Love was finished in July 2023. He also has a massive visual art project entitled Insomnia of Worlds which will slowly become public beginning in autumn 2023. Since 2018 he has been teaching courses in directing, screenwriting, and subversive cinema at the Caucasus School of New Cinema, the Georgian Institute of Public Affairs, and Free University in Tbilisi, and at the Moscow and St. Petersburg Schools of New Cinema. He is also teaching an ongoing series of public courses in Tbilisi called The Act of Seeing, Found Footage Cinema, The Call of the Wild, The Forest Passage, Fascinations, and Adventures. (https://www.facebook.com/DocumentaryCourseSeriesTbilisi)

Puissants terrains d’expérimentation, les corps se trouvent au cœur du nouveau film de (LA)HORDE, Cultes, imaginé comme une réflexion autour du phénoméne des festivals. "Peut-on encore vivre une expérience spirituelle dans ces nouveaux sanctuaires consuméristes ? Les spectateurs réussissent-ils à créer leur propre expérience subversive comme autant d'individus constituant une masse ?". Le film est un trip hallucine? au cœur d’une foule, d’une communaute? de corps soudés par leur amour de la musique, des corps qui dansent mais qui n’oublient jamais de ressentir.

“Uutisten aika (Newstime)” is a found footage film, which discusses cultural differences, being an outsider, the Namibian independence struggle, and Finland’s long-term ties with the southern African country. The work consists entirely of archival material from the late 1960s to the early 1990s. TV-programs showing everyday life are set against a voice-over by Ellen Ndeshi Namhila reading from her autobiography “The Price of Freedom”. Namhila spent seven years in Tampere as a refugee on a scholarship, studying library science. She recounts her experiences, ranging from single parenthood to observations on missionaries in Namibia and the church in Finland. Everyday scenes manifest how Namhila possibly saw the fairly homogeneous Finnish society she lived in. News clips on the Namibian independence struggle frame the narrative. They feature SWAPO (The South West Africa People’s Organization) students, visiting politicians, and representatives of the United Nations and NGOs. Since Namibia was under the apartheid regime until 1990, archival material about the history of SWAPO can be found in countries where members of the liberation movement were in exile.

Laura Horelli (b. 1976, Helsinki) lives in Berlin and works with experimental documentary video. She is interested in representations and mediations of the past taking on a microhistorical approach. Her works have been exhibited internationally at the Venice Biennale (2001, 2009), Manifesta 5, (2004), ARS 11, Kiasma, Helsinki (2001, 2011), Galerie Barbara Weiss, Berlin (2003, 2007, 2011), Badischer Kunstverein, Karlsruhe (2014), Galerie für Gegenwartskunst E-WERK, Freiburg (2019) and JMAC Gallery, Katutura College of Arts, Windhoek (2019). She has participated in film festivals like Berlinale Forum Expanded (2017, 2018, 2019), Nordisk Panorama (2019), Docaviv (2019), ISFF Oberhausen (2018), BFI London Film Festival (2018), IndieLisboa (2017), Kasseler Dokfest (2013) and CPH:DOX (2009). In 2011, she received the Hannah Höch Prize for Young Artists. Her film “Namibia Today” received a honorary mention at the Festival CineMigrante, Buenos Aires (2018). Horelli was a visiting professor at the Academy of Fine Arts, Berlin (2007) and is a lecturer at the University of Cologne (since 2018).

Je devais trouver un moyen par lequel ma personnalité consciente et mon côté obscur (inconscient) pouvaient coexister à l'intérieur de moi. J'ai décidé de regarder au plus profond de moi et de projeter cette image de mon côté obscur pour que je puisse l'observer. Pour rendre visible ce qui ne l'est pas.

In the film Standing Nymph with Man, the Fine Arts Building in Chicago is the protagonist rather than the subject. Originally designed by Spencer Beman in 1884 as a soundproof structure for the Studebaker Company (horse carts and automobiles), the building has for many years been home to artists` studios and services for classical music. This sonic history and presence is constantly evoked in the film`s soundtrack, which brings to the forefront the reverberant acoustic qualities of the building. Another invisible yet audible presence is the occasional voice of the building`s cleaning woman who relates her personal encounters with the building. Her voice is in counterpoint to the elevator operator`s whistling, a leitmotif in the soundtrack that we hear only in reflection, since we only ever see him from behind. This insistence on an invisible yet highly palpable acousmatic presence creates a rich sonic world that embraces the film`s visual mixture of live action footage and LIDAR animation. These visual techniques focus on the details of both the surfaces of the building`s interiors and its three-dimensional forms, tying the intimate upper floors to the first-floor theater, uniting surface, volume, material, reverberation, and resonance, and articulating historical traces that surpass subjects or authors. Anonymity, in fact, permeates both the building and the film, from the anonymous painting that gives the film its title, to the cleaning woman who chooses to remain anonymous in the film`s making, to the numerous lesser known musicians practicing their craft in private behind closed doors that nonetheless allow the seepage of their intermingling music into the resonant hallways of the building.

Milad Mozari’s work moves through concepts of music, belief systems, absence, and structures. His research-based practice often starts with sound or spatial experiments, which then attempt to resonate physically, historically, and experientially. While studying for his BS in International Studies at the University of Utah, he began to make and exhibit work about language and place. He continued his studies at the School of the Art Institute of Chicago, where he received an MFA in the Department of Sound. His work has shown internationally at the Hong Kong Arts Centre, International Symposium of Electronic Arts, Chicago International Film Festival, Litmus Community Space, Chicago Cultural Center, the Studebaker Theater, Roots & Culture and Experimental Sound Studio. Fellowships and residencies include Asian Cultural Council Grant to individuals, ACRE, Tsung-Yeh Artist Village and soundpocket. He currently lives in Chicago where he teaches at SAIC in the Department of Architecture, Interior Architecture, and Designed Objects.

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.

A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.

In 1978, the Saudi-Lebanese contractor Rafiq Hariri who made his wealth at the service of the Saudi royal family after the 1970’s global oil crisis, returned to Lebanon at the beginning of the civil war to deploy, in the name of reconstruction, one of many transnational developments in the town of Kfar Falous. Petrodollar recycling is the allocation of incredible funds to the benefit of disputed or untimely developments. “New Sidon Sun” is a video installation that tries to interrogate this model of failed modernity by surveying absence in the the Kfar Falous Science Complex as a petrodollar spill.

Maxime Hourani (Beirut, 1982) is an artist and architect who works with time-based media. He explores in his work the poetics and politics of land transformation while locating affective encounters between the history of nature and the nature of history.

Ap02 est une performance immersive fondée sur un maillage complexe de logiciels et d?ordinateurs modifiés qui rend perceptibles des systèmes informatiques sous-jacents. Le numérique rendu physique, audible, et visible au travers de systèmes de code complexes, dans les couches quasi géologiques de la machine. Les algorithmes des données enregistrées en direct, ap02 transforme l?espace de la performance en un laboratoire ouvert. En temps réel, jouant avec un équipement récupéré, altéré, modifié, amoncelé, à peine fonctionnel, et des logiciels qui deviennent physiquement perceptibles au travers de sons/bruits et images/signes. ap02 présente une performance complexe, structurée par des processus qui passent dans les machines; le flux symphonique d?un essai de mettre ensemble une systématique fuguée est joué contre/sur le bruit de la dislocation/l?effondrement et le crash des machines aux frontières désertées du contrôle.

ap (Martin Howse + Jonathan Kemp) a été créé en 1998, pour la recherche de développements de systèmes technologiques dans le domaine de l?art, en ayant recours à de nouveaux modes de description et de fonctionnement de logiciels et de systèmes informatiques (software et hardware), dont les implications sont politiques au sens large. ap est actif dans la création de systèmes numériques physiques ouverts, et réalise des performances dans le monde entier. Il développent des disques durs et des logiciels, et organise une conférence annuelle à Londres (24 mars 2006).

REVUE 2012 Revue est un dialogue entre le film de Jean Luc Godard ?Deux ou trois choses que je sais d´elle? , sorti en 1966 et l´edition Architecture d´Aujourd´hui ?urbanisme? de l´année 1967. Nous juxtaposons des plans, des projects et des théories d´urbanisme du magazin AA et des images de film, qui s´occupent des même sujets, avec les moyens cinématografique. A cause du format cinémascope du film nous avons coupé le magazin en trois parts. Par après nous avons pris des fotos en parcourant le nouveau magazine (avec des fotos du film de Godards et la revue AA). Sur cette base nous avons fait le film "Revue" et nous avons attribué des parts de la bande sonore du film original.

Hösl & Mihaljevic: born in Germany / master of art at the University of Fine Arts in Berlin/ german and international grants a.o. German Academic Exchange Service (DAAD) scholarship, international exchange and studio program (iaab) Basel, residency at the Cité International des Art Paris / works owned a.o. Nationalgalerie Berlin, Kupferstichkabinett Berlin, NBK Berlin, Museum of Modern Art Freiburg, artcollection Baselland, government department of science, research and art Stuttgart / listed in: Kritische Lexikon der Gegenwartskunst (critical lexicon of contemporary art) / internet: http://hoesl-mihaljevic.tumblr.com/ ...The jointly produced work of Hösl&Mihaljevic occupies an in-between state, an area that is never only one medium or concept but always both painting and sculpture, art and real life, practical and aesthetic.... The couple artists hide neither their sources in the world around them nor their processes. They openly declare the strategy of appropriation that lies at the heart of their work unsettles by its play with these reflections or imitations of things that already exist. The art of Hösl&Mihaljevic is a delicate system of balance constructed on a logic that is never entirely clear, but one that leads us to other forms of seeing and perceiving. Felicity Lunn

Starting from a gunman involved in a murder case, I seek to reflect the collective unconscious within society and politics through the gunman's multiple peculiar roles—a filmmaker, a killer, a gangster, and a patriot. In 1984, when Taiwan was still under Martial Law, a Taiwanese American writer Henry Liu was shot to death in his own house in the US by a Taiwanese assassin. Afterward, due to the intervention and investigation of the US government authorities, this case was eventually confirmed to be a political murder jointly committed by the Military Intelligence Bureau and the biggest mafia United Bamboo Gang in Taiwan, as the government paid the mafia to kill Henry Liu. The protagonist of this work, Wu Dun, is the assassin who fired the shot at the time. After the case was exposed, the Taiwanese authorities were pressured by the US, and Wu Dun was thus sentenced to life imprisonment. However, he was given amnesty and discharged from prison after six years. After he got out of prison, Wu Dun remained an important member of the United Bamboo Gang, and he established a film company as a producer with the support of his mafia influence, making several “wuxia films” – refers to specific traditional Chinese swordplay films. In this work, I revisited the film studio that was once used by Wu Dun and is now deserted to recompose the fragments of the political assassination and the scenes of wuxia films, and I cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Wu Dun.

Hsu Che-Yu (b. 1985) is an artist based in Taipei and Amsterdam. Previously, Hsu obtained a master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts (Taiwan). Since 2019, he had participated in the residency program in HISK (Ghent, 2019–2020) and Le Fresnoy – Studio national des arts contemporains (Tourcoing, 2020–2022). In 2022, he begins his two-year art residency in Rijksakademie in Amsterdam. Hsu has solo exhibitions at Liang Gallery (Taipei, 2022), Vanguard Gallery (Shanghai, 2020), Taipei Fine Arts Museum (2015), Kuandu Museum of Fine Arts (Taipei, 2012), SAT Society for Arts and Technology (Montreal, 2012). He has participated in the Theater der Welt (Frankfurt, 2023), Bienal de São Paulo (2021), Seoul Mediacity Biennale (2021), Sonsbeek20?24 Quadrennial public program (2021), Techniques of Becoming (Württembergischer Kunstverein, Stuttgart, 2021), VIDEONALE.18 (2021), Shanghai Biennale (2018), London Design Biennale (2018), Asian Art Biennial (Taichung, 2017), and film festivals IFFR International Film Festival Rotterdam (2023, 2022, 2020, 2018), NYFF New York Film Festival (2020)and Rencontres Internationales Paris/Berlin (2020, 2019, 2018). He was awarded the Videonale Award of the Fluentum Collection (Kunstmuseum Bonn, 2021), the Loop Barcelona Video Art Production Award (Han Nefkens Foundation, 2020), the Taishin Annual Grand Prize (Taishin Bank Foundation for Arts and Culture, 2016), and was a finalist for HUGO BOSS ASIA ART (2019).

I deploy the technique of 3D scanning on the body of the first conjoined twins in Taiwan and use it as materials to reenact their memory from the youth. In this work, I explore the layer of biopolitics and the demonstration of one’s memory. The first conjoined twins underwent the separation surgery in 1979 and the whole surgeon process was broadcast on TV. In that period, Taiwan was under martial law. Therefore, this surgery was often interpreted as a metaphor for the relationship between Taiwan and China. Forty years later, I revisit the iconic figures and reconstruct the narration of their memory within personal and public experiences. Back in 1979, in order to rehearse for the separation surgery, the hospital invited an artist to make a cast of the conjoined twins. However, because it was difficult to control the babies during the molding process, the attempt to make a cast was unsuccessful. In this project Single Copy, I have re-casted the body of the now 43-year old Chang Chung-I, and also use 3D scanning technology to archive his body. The data from the archive are then used as sources for capturing memories from Chang’s earlier life.

Hsu Che-Yu was born in Taipei in 1985. Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. From 2019 to 2020, he began to join the post-academic research programme HISK (Higher Insititute for Fine Art). Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective. The exhibitions he once participated include: 2020“International Film Festival Rotterdam”(Rotterdam), 2019 “HUGO BOSS ASIA ART” (Rockbund Art Museum, Shanghai), “Pre-biennale screening program- Seoul Mediacity Biennale 2020” (Seoul Cinema, Seoul), 2018 “Shanghai Biennale: Proregress” (Power Station of Art, Shanghai), “London Design Biennale: Emotional States” (Somerset House, London), “Osmosis Audiovisual Media festival” (CCI Fabrika, Moscow), 2017 “Asian Art Biennial: Negotiating the Future”(National Taiwan Museum, Taiwan), “EXiS, Experimental Film And Video Festiva” (Sonje Art Center , Seoul), “ifva Festival” (Hong Kong Arts Centre, Hong Kong), 2016“Public Spirits” (Center for Contempoary Art Ujazdowski Castle, Warsaw), “Time Test: International Video Art Research Exhibition” (CAFA Art Museum, Beijing)

This video is about my brother’s family memories in the form of animation, and extend from these memories to two criminal cases that took place in the surrounding area: one teenager was murdered, which happened at an Internet café where my brother often used to go to in his adolescent years, and this event was made into an illustration on the news. Another event also happened in my hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. Police imagined and portrayed the female’s face before her death according to the shape of the skull. - The two events were separately made into portraitures on public media:a manga illustration made with 3D software by news media, and the portrait of the victim drawn with pencil by the police. I visited the police who produced the head profile of the female, as well as the storyboard director who made the news animation. By exploring their graphic techniques, I attempt to construct the images of my brother’s memories in my work.

Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Now participate in post-academic research programme HISK (Higher Insititute for Fine Art) 2019-2020. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of Chiang Kai-shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the self-explosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people invovled, however, they told us it was actually a fight between political factions. Re-rupture assembles two seemingly unrelated historical fragments: "People`s Taxi riot" and "Taipei Breaking Sky." I invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist Li Na-shao on the top of Chongxing Bridge to play music.

Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

?The Story of Hoping Island? was shot in a shipyard on Hoping Island in Keelung, which has 88 years of history. During the Japanese occupation of Taiwan, it was the Japanese government?s southernmost shipyard, and as such, it supported Imperial Japanese, southward expansion. After the retrocession of Taiwan, the shipyard played a key role in Taiwan?s economic takeoff. This shipyard represents a highly compressed, symbolic timeframe, from WWII to now. The shipyard reflects how the locals identify themselves based on their specific, local histories, and at the same time, how the national government encodes and directs history. To support this history, complicated traditions and myths are continually developed and developing. So Hsu, Chia-Wei shot this shipyard, a real space, and responded to the shipyard?s other historical side: the legend. The whole scene of ?The Story of Hoping Island? was shot in the shipyard in Hoping Island. Artist invited his grandmother to describe the situation in Japanese (She had received Japanese education). Through the process of narratives, this place seems remote and deserted caused of no people appeared in the video. (Actually, there are usually numerous of workers) In this work, artist regarded this shipyard as a memory crystal to develop the narratives. Through the complexity of place and memory, this place becomes an effective instrument to reproduce memory. In this video, an artist-created creature?Ni-Ku is the only element to connect to the narrative. It has weightless science-fictional characteristic: both the military detector and the luminary. Artist also put electronic music with shattered rhythms in the background. Through this tiny creature, this work responds to the grand era and so do the fictional narratives respond to the politics statement. It also permeates through history, memory and dream. Or we could say that history itself seems like memory and dream to some extent. There is many usage of ?light? in this work, including the luminous Ni-Ku in the narratives, sparkling gem-like light in the shipyard, the lighting in the end of the video, and also the physics light from projector in the space. In the illusory dimension, with its light-like non-material characteristic, this work transits the immense and heavy history to a legend. ?The Story of Hoping Island? lies in constantly-overlapped process of history and dream, image space and physical space, reality and fiction. While national governments continuously constructed its own identification, this work becomes a weightless, fictional space, and provides a breathing break.

My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 11 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.

Huatung Village was located in Sijhih City in Taiwan and populated by the Amis people. In 1985, there were three Amis families farming vegetables by the Dakeng River Bridge along Provincial Highway No. 5. The next year, about ten Amis families built cabins and stayed there. That is how Huatung Village started. By 1996, it became a village of 215 families. It was a huge block of illegal buildings. The villagers used abandoned iron sheets and wood to build their houses. They also used those materials to build the traditional tribal lookouts, community meeting rooms, and churches. In 1997, the government evicted the whole village and moved them to subsidized government housing. Now, the site is covered by grass, and one can only find a few ruins left behind. My work was videotaping the actual site. Juxtaposing separate audio and video tracks, the chieftain?s voiceover talks about the village?s history, while the video track shows what the village looks like nowadays. Gradually, as day turns into night, the video?s structure changes from documentation to another approach: I wanted to constantly blend the layers between the location (documentation) and the scene (narrative).

1983 Born in Taichung, Taiwan, live and work in Taipei, Taiwan. 2005 graduated from Department of Fine Arts, National Taiwan University of Arts 2010 graduated from Graduate School of Plastic Art, National Taiwan University of Arts My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 9 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.

Narrated by Chinese Malaysian singer Fish Leong, the project ?March 14, Hong Kong Coliseum? follows her tour through different cities in Asia, including Shanghai, Hong Kong, Taipei, Singapore, Malaysia, Beijing, Guangzhou, Kunming, and Chengdu. In Chinese world, almost everyone knows Fish Leong and her voice. Here was a huge entertainment industry with a pan-Asian approach. The tour moved from city to city, and wherever it went, the stage, lighting, and songs at each event were similar, and each concert scene was also a confrontation between globalization and local cultures. In this exhibition, I present a single-channel version and make two images juxtaposed. The video shows an empty concert scene with neither the singer nor audiences. The real event becomes an enormous and fictional scene. Here, the concerts represent globalization, but the video work makes this connection drift apart.

I live and work in Taipei, Taiwan. I am now a full-time artist. My method is a specific kind of ?Narrative? -- a way of documenting that interferes with the reality of the text, by focusing on a site?s specific and peculiar characteristics, such as memory, imagination, or identification. With these characteristics in mind, I develop a narrative, and between the reality of the text and the fictional narrative, I construct a myth or a legend. I am also one of the members from Open-Contemporary Art Center in Taipei, Taiwan. This art space consists of numerous young artist and runs over 8 years. Through practicing organizing exhibitions and writing, I try to expand art influences to the society.

Un jeune photographe ambulant et son assistant proposent à des nomades tibétains de les prendre en photo devant différents fonds.

Hu wei, né à Pékin en 1983, est un cinéaste et un artiste chinois. Il vit et travaille entre Pékin et Paris. Cinéaste et artiste plasticien, il a suivie diverses formations dans ces arts, successivement en Chine puis en France, notamment à l`Ecole Supérieure National des Beaux Arts de Paris (ENSBA) puis au Fresnoy-Studio national des arts contemporains.