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Two parallel stories in post-full scale invasion Ukraine. Oksana is a psychologist and dance teacher at the Centre for Creativity, a community space in Kosiv, west Ukraine, now repurposed as a hub for volunteers to make soup, salo and camouflage nets for the front lines. Margarita is an artist and volunteer medic, working to evacuate wounded soldiers, civilians and animals, while still maintaining her practice as a painter. A meditation on resistance, the role of art in extreme times, and the ways in which people relate to or make sense of the war.

The collaborative practice of Marta Hryniuk and Nick Thomas is devoted to the radical potential of film and video, paying close attention to themes of collectivity, a subjective relation to history, and possibilities for resistance. They seek out places and subjects which offer insights into ways of living ‘otherwise’, opening up questions around freedom, agency and solidarity. They are interested in the utopian social projects of the twentieth century and their legacies, feminist and migration histories, and the ways in which individuals embody and respond to historical forces. Their work often takes the form of portraiture; collaborating with individuals and small groups allows the artists to think about broader themes while embracing subjectivity, tactility and embodied knowledge.

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.

Dans les maisons, après les séparations, les mères étaient en larmes. Les fils étaient transformés en verres vides. Et les berceuses devenaient des malédictions. Le film examine la souffrance et la résilience du peuple birman en utilisant les éléments politiques distincts qui ont flotté pendant plusieurs années sur l'océan de l'opéra politique sous les dictatures militaires répétitives en Birmanie. La composition visuelle s'inspire des couleurs du drapeau national du Myanmar, adopté en 2010 pendant la période dite de transition du pays. Ce drapeau, ancré dans la Constitution de 2008 imposée au pays par un ancien dictateur militaire, contraste fortement avec la loi sur le drapeau national de 1974, car il comprend une définition formelle du drapeau. Le film déconstruit et remet en question la définition existante du drapeau en jouant avec les couleurs, les objets et les séquences, en utilisant une forme d'images télévisées de propagande gouvernementale montrant différentes générations sous des dictatures militaires répétitives, en mélangeant la voix effrayante du dictateur actuel, Min Aung Hlaing, qui raconte des berceuses obsédantes grâce à la technologie de l'IA. Le film revisite également la chanson qui a été chantée lors des dernières images réelles d'une fête d'anniversaire organisée pour l'ancien dictateur du Myanmar, le général Ne Win, à l'hôtel Sedona de Yangon le 21 mars 2001, un an avant sa mort.

Lin Htet Aung (né en 1998) est un cinéaste originaire du Myanmar. Il a commencé par la poésie d'avant-garde avant de se tourner vers le cinéma en 2017. Ses courts métrages ont été sélectionnés dans plusieurs festivals internationaux, notamment ceux de New York, Vancouver, Tirana, Karlovy Vary et Rotterdam, et ont remporté plusieurs prix, dont le TIGER SHORT AWARD au Festival international du film de Rotterdam (IFFR). Ancien élève du TIFF Directors' Lab, de Berlinale Talents, de la Locarno Filmmakers Academy et de l'Asian Film Academy, et lauréat du Prince Claus Seed Award 2023, il développe actuellement son premier long métrage, Making A Sea, qui a reçu l'Asian Cinema Fund et le Red Sea Award à l'Asian Project Market (APM). Après le coup d'État de 2021, il a rejoint le CDM (Civil Disobedience Movement) pour ses études d'ingénierie en Birmanie, et étudie actuellement à la Städelschule art School, en Allemagne.

The soldier's mind was a turbulent sea of anxiety and resolve as he arrived at the abandoned battle camp, where the hasty departure of others left him grappling with solitude and the weight of his duty.

Lin Htet Aung (1998, Myanmar) is a self-taught filmmaker based in Myanmar. In his earlier days, he wrote avant-garde poems and published underground poetry books. In 2020, his experimental short film Estate won the Silver Screen Award for Best Director at the Southeast Asian Short Film Competition at the 31st Singapore International Film Festival (SGIFF). In 2023, his short film Once Upon A Time There Was A Mom won the Silver Screen Award for Best Screenplay at the 34th SGIFF. His same short film won the Principi Award at Lago Film Fest and the Jury Prize at Bangkok ASEAN Film Festival (BAFF). His short films have been selected at International Film Festival Rotterdam, Internationale Kurzfilmtage Oberhausen, Rencontres Internationales Paris/Berlin, LINOLEUM Contemporary Animation and Media Art Festival, Kurzfilm Festival Hamburg, among others. In 2024, he received a Script Development Fund for his debut feature project, Making A Sea, which won the Fellowship Prize at the Southeast Asian Film Lab at the Singapore International Film Festival 2023. He is one of the directing fellows for the CHANEL X BIFF Asian Film Academy 2023. He has also been nominated twice for SEA AiR Studio Residencies Cycle 1 and Cycle 2. He is also one of the Prince Claus Seed Awardees 2023 and a Locarno Filmmakers Academy 2024 participant.

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.

This video is an analytical montage of shots extracted from more than 60 films from the Chinese Cultural Revolution period. It exclusively studies the moments of the interpellation of the Ideology (Louis Althusser) which are represented physically by music, words, gazes, gestures and situations found in these films. Strictly speaking, Ecstasy does not lend itself to a specific synopsis, but this does not mean that there is nothing to look at in it. The multiple symbols and meanings extracted from a wide range of shots make up the narratives found in this video: The resemblance of the music in different films, the dramatic gazes with catchlights (like they are absorbed by an overwhelming feeling of great excitement, where the title Ecstasy comes from), the repetition of the words (like “ Mao Zhuxi ”, Chairman Mao), the robotic gestures (raising one’s head, turning around), the faces with tears, the symbolic objects which reincarnate the transmission of ecstasy (like needle, spanner and apple) and the exaggerated film techniques (close-up, zoom in). This video is one of a series of videos and they are not only reexaminations of the cinema of that period but also reflections of history as told through cinema.

Di HU Born in Zhejiang, China. He studied Chinese Literature at Zhejiang University before going on to study cinema at several universities in Paris (Paris 1, Paris 7 and Paris 3). He became a film critic and scholar afterwards and started making video works in 2014. Since then, his works have been screened and exhibited in Stuttgarter Filmwinter, Cairo Video Festival, Dallas Medianale, Athens Digital Arts Festival, Images Contre Nature, Magmart International Videoart Festival, EXiS, Channels Festival, Korean Film Archive and the Australian Center for the Moving Images and Cinémathèque de Toulouse, among others. www.hudi-art.com

This is the video version of Heaven on Fourth. At “Performa 19” Huang Po-Chih used a non-realistic method to interpret an incident that occurred in the Chinese community of Flushing, New York. Heaven on Fourth took place in six performances, three performances per week. The work was expressed through a variety of forms, including installation, text and live performance. He hired actors, writers, bartenders and a masseuse to reconstruct the incident. The entire performance was based on the story of the Chinese woman Song Yang, an undocumented immigrant who engaged in erotic massage: To avoid being arrested by the police for prostitution again, she leapt from her rented fourth-floor apartment and landed heavily on a street lined with restaurants and erotic massage parlors in Flushing, New York. The title of the work (Heaven on Fourth) alludes to this incident, as well as the name of a massage parlor that was later established in the same apartment. Through this title, he directly explored the many contradictions in society today. Heaven on Fourth was not a typical performance. It defied specific categorization, because it had no script, only five texts. Within this structure, Huang Po-Chih and the four writers used words to open up an ambiguous space that accommodated any plot, any imagining or information, enabling an open-ended examination and review of the life of an inconspicuous character, and telling a story of “human fate at its lowest state.” During the process of performance, the actors read the text in a calm and gentle tone, and at each pause in the recitation, the bartender at the bar invited the audience to taste the cocktails. A massage bed was set up above the bar, and an actor randomly asked audience members if they would like to go upstairs for a massage. In this private mezzanine space, the hired masseuse massaged participants silently, while an actor recited the text softly in their ear. For Huang Po-Chih, the purpose of re-editing the incident with texts rather than a script was to provoke a direct reaction from spectators. However, such a manipulation had the potential to alter the real world. The artist did this deliberately in order to create a socially conscious “artwork.” However, works of art differ from acts of social activism, with their appeal to ideas and attitudes of skepticism. The use of an artistic vocabulary makes it easier for the audience to become engaged with a certain scenario.

Huang Po-Chih (1980 born in Taoyuan, lives and works in Taipei, Taiwan) completed his studies at the Taipei National University of the Arts in Taiwan in 2011. His diverse artistic practice revolves around the circumstances and history of his family which enable him to involve in issues like agriculture, manufacturing, production, consumption, etc. Since 2013, exhibitions of his continuous art project "Five Hundred Lemon Trees" have been transformed into a crowd-funding platform allowing the appropriation of artistic resources for developing an agricultural brand, activating fallow farmland, and growing lemon trees for lemon liquor. On the other hand, the project has connected his family members, local farmers, and consumers to make a new social relationship possible. In the same year, he published his first collection of essays "Blue Skin: My Mother’s Story", the story about his mother. In a way, such a brief account of personal history can somehow reflect Taiwan's agricultural economic reform and social change over the past fifty years, which is essentially, a micro-level of observing his own family history and society as a whole in Taiwan. Huang Po-Chin received the grand prize of the Taipei Arts Award in 2013, was nominated HUGO BOSS Asia arts Award in 2015, and received Prudential Eye Awards in 2016. Huang participated in Taipei Biennale in 2014 and 2016 and has been exhibited internationally including the 8th Shenzhen Sculpture Biennale in China in 2014, Performa 19 in New York in 2019, Busan Biennale in Korea in 2020, also many group exhibitions in museums, e.g., the National Museum of Modern and Contemporary Art (MMCA) in Seoul, the Rockbund Art Museum in Shanghai, CHAT in Hong Kong, the Museum moderner Kunst Stiftung Ludwig Wie (mumok) in Vienna.

He pays him a visit in Frankfurt during his work trip in Europe. The last time he saw him was in Beijing, back in 2015, and this could be the last time he sees him.

Shuli Huang is a writer-director and cinematographer born in Wenzhou, China. His second short film, Will You Look At Me, premiered at the 61st Semaine de la Critique where it was awarded Queer Palm of Festival de Cannes 2022, and went on to win Short Film Jury Award at Sundance Film Festival 2023. Goodbye First Love, his latest short film will premiere in competition at Berlinale shorts 2024. As a cinematographer, Shuli lensed several Chinese independent feature films including Farewell, My Hometown, which received the New Currents Award at Busan International Film Festival 2021, and Borrowed Time, selected for International Film Festival Rotterdam 2024. Shuli studied film production and cinematography at Beijing Film Academy. In 2019, he moved to New York City, pursuing an MFA in film directing at New York University’s Graduate Film program.

Suite à la démolition du quartier Yanji, situé au centre-ville de Canton (Chine) qui devient une zone de chantier entre construction et destruction. Une seule maison reste aujourd`hui visible dans cette vaste zone désaffectée. Celle-ci est désormais source de nombreux récits, merveilleuse, elle détiendrait le secret du monde. Un jeune homme jette des pierres face à cette étendue et tente, de déclencher une vibration du monde, jusqu`à l`épuisement, et une femme observe le lointain avec des jumelles. Un geste ancré dans un rapport de lutte intime, incarné entre le corps et l`architecture, la modernité et la ruine, un geste pour réactiver un lien sensible avec ce qu`il reste du réel.

Photographe et vidéaste indépendant, né en 1980 à Canton (Chine). Zhenqian Huang vit depuis 2004 en France. Après un diplôme à l`Ecole Supérieure d`Art Lorraine d`Epinal et de Metz en 2011, Ensuite, il est passé au post-diplôme à l`Ecole Supérieure des Beaux-Arts de Lyon. Son projet art vidéo " Village in the city " (2010) a obtenu le premier prix vidéo Grand Est et vidéo "Déshabitation`` (2011) pour le prix mention spéciale du jury au Festival d`Art Vidéo D`Konschtkëscht au Luxembourg. Il a exposé son travail au plusieurs pays, notamment au Centre Pompidou de Metz et Européen média art festival en Allemagne. Il est actuellement en promotion au Fresnoy, Studio national des arts contemporains.

Né dans une vieille maison de Xiachun, à Zhuhai, dans la province du Guangdong, cet endroit détient des souvenirs collectifs pour ma famille et pour moi. Il y a vingt ans, le développement urbain a conduit à sa démolition, pour faire place à de nouveaux quartiers résidentiels. Nous avons ensuite passé seize ans dans divers logements locatifs, avant de retrouver nos pas dans notre quartier d'origine en 2016. Mes souvenirs de la vieille maison sont vagues, car j'avais seulement trois ans, mais chaque membre de la famille conserve des mémoires et des histoires distinctes à son sujet. C'était là où mes parents ont passé leur carrière et où ma grande sœur a vécu son enfance et sa jeunesse. Ce travail est un projet d'images générées par IA. Utilisant l'apprentissage profond, les modèles de texte à image et d'image à image, il tente de reconstruire les mémoires de notre vieille maison telles que gardées dans la mémoire de ma famille. Ce projet ne se limite pas à l'application de la technologie; il explore le rôle de l'IA dans la documentation et l'enrichissement de l'histoire familiale, particulièrement pour les familles aux riches backgrounds culturels. Cette méthode sert à enregistrer et à préserver des expériences diverses, facilitant les échanges et la compréhension culturels. Grâce à l'IA, j'explore en profondeur notre histoire familiale, comprenant l'importance de la vieille maison et son rôle dans la formation de notre mémoire collective.

Xueyi Huang, artiste sous le nom de Snow, est une artiste des médias numériques originaire de Zhuhai, en Chine. Elle détient un baccalauréat en Design de performance numérique du China Academy of Art et une maîtrise en Arts numériques de Goldsmiths, Université de Londres. Sa carrière couvre les effets visuels, les moteurs de jeu et l'interaction numérique. Les créations de Snow sont profondément influencées par ses expériences éducatives et de vie tant en Chine qu'au Royaume-Uni. Utilisant des technologies telles que l'art génératif, l'apprentissage machine, la réalité augmentée et la capture du mouvement, Snow se consacre à produire des œuvres narratives qui entrelacent les mémoires personnelles et culturelles, présentant un art numérique émotionnellement résonnant.

Une maison s'envole et se balade à pieds dans le paysage. Description: une maison implantée à Fontaine-les-Dijon, à la frontière nord entre la ville et la campagne, est soudainement soulevée dans les airs. Transportée par une douzaine de porteurs, dont on peut voir dépasser les pieds, la maison décampe en ligne droite, traverse le lotissement et finit sa course dans la campagne, en disparaissant au-dessus de la ligne d'horizon.

Séverine Hubard (née en 1977) a étudié les Beaux Arts à l'Ecole des Beaux Arts à Dunkerque et à Nantes. Elle détennait déjà des bourses d'études de l'Aomori Art Center au Japon, de Saint-Jean-Port-Joli, au Québec (Canada), du FRAC du grand EST, à Dijon, et du programme AFAA, à Montréal (Canada). Ses oeuvres ont été présentés au cours d'expositions individuelles au Canada, en France, en Allemagne et aux Pays-Bas et lors de présentations collectives comme à la Biennale Izmir, FRAC Nord-Pas-de-Calais, à Lille, à la Kunst Ambassade, à Rotterdam (Pays-Bas), à l'Aomori Art Center, au Japon, et au Sirus Art Center à Cobh co Cork, en Irlande.

La fée Utopia en 4 temps : ses colères chantées, ses spontanéités et galipettes magiques ponctuées de bruits de manifestation sociales et de musiques mystérieuses. Le fond de l?histoire : « Nous sommes complexes et les apparences sont trompeuses /que savez vous de moi en me regardant ? je pourrais être terroriste, infirmière, astronome ? je te souris, mais tu me dégoûtes? La colère d?être petite et pleine d?espoir face à la fatalité médiocre. Même les fées bleues qui font des bulles peuvent être bourrées, et demain ça ira mieux?.

v.hubert, née en 1970, vit et travaille à Alfortville/Paris représentée par la Galerie Quang Paris "Depuis une dizaine d`années, Véronique Hubert élabore une ?uvre complexe qu`il ne faut pas réduire à l`humour agité qui la traverse. Travaillant dans la multiplication des compétences, sa dispersion contraste avec la rigueur et la constance de son propos. Son ?uvre se dessine dans la superposition de ses expressions ; vidéos, tracts, dessins, photographies et écrits, réalisés depuis 1995. Une connaissance aiguisée de l`histoire de l`art, du cinéma, du milieu médical, de la musique électronique ainsi qu`une curiosité sans limites fournissent à l`artiste un matériau très riche qu`elle déploie dans des constructions fictionnelles, des petites histoires ou saynètes interprétées par des personnages "prétextes" faussement enfantins, aux dérives paranoïaques. " extrait de "la bonne position", France Valliccioni, 2004

Poème graphique vidéo. Adaptation des dessins sur papier -Leporello de 20 pages . Depuis CHAOS HUMAINE (NOUTRES/Il faut prévenir les petites filles) 2020, je transpose les dessins en vidéo poèmes. C’est une autre façon de lire cette histoire de déplacements de la fée Utopia en cours d’écriture graphique. Il s’agit ici de l’épisode 2 de son échappée : Utopia a quitté secrètement son endroit de vie. Errance, pensées et rêverie, c’est aller vers "t·soi"..

Plasticienne, vj-dj, enseignante, organisatrice d’évènements artistiques et de collectifs,(B&b unlimited, le noyau, les Inapproprié.e.s, Femn’Furious) Dans l'équipe du Festival Jerk Off depuis 2019. Le métissage et les féminismes se matérialisent au fur et à mesure de ses choix techniques diverses mixés : Audio-visuelles, performances, Mix live, écritures graphismes et dans leurs connexions incessantes. Les sources peuvent être iconiques ou littéraires, sociologiques ou poétiques, passées ou actuelles, Historiques ou banalement crues Elle met en scène des personnages fictifs depuis1996, comme la fée UTOPIA que l’on retrouve dans des performances, des situations burlesques, dans les dessins, les photographies, les éditions, les installations ou les vidéos. Le rôle principal de sa démarche reste l’absurdité de notre comédie humaine autocentrée et anthropocentrée.

Sur le terrain des Dorkel (Une famille de gitan-voyageur), le temps s`écoule comme toujours entre chourav (vol) et braconnage. Rien n`aurait dû changer pour Fred, l`aîné des fils, s`il n`avait rencontré un ange, son ange.

Jean-Charles Hue, né le 22/06/68 à Eaubonne. Je vis et travaille à Paris. Diplômé de l`école d`art de Cergy-Pontoise. C`est à travers divers médium ; objets, écrits et films, que je tente de créer un parcours de vie. C`est principalement celui du monde gitan (Voyageur) qui m`a adopté depuis une dizaine d`années. Mais c`est aussi la tentative de se construire une mémoire qui comme un kaléidoscope renverrait une multitude d`images vécues ou bien désirées. Les images atteignent les bons jours une certaine féerie qui trahit bien un désir naïf de voir s`envoler le morceau de bidoche que nous sommes vers un ailleurs. En cela, mon cousin Fred le gitan m`a donné l`une des plus belles occasions de ma vie de retranscrire dans un film (Un Ange) non pas l`ailleurs, mais la tentative quasi désespérée de l`envol.

Chez les Yéniches, communauté de gens du voyage, le respect des aînés et la ferveur religieuse côtoient indifféremment le vandalisme. Fred Dorkel est l'un d'entre eux : craint et estimé par les siens, il vit du vol de voitures. Une nuit, sa vie bascule : un ange lui apparait. Pour Fred, c'est le signe d'une seconde chance qu'il doit saisir. Il décide de se ranger, mais ce choix va l'opposer à sa famille...

Jean-Charles Hue (né en France en 1968) vit et travaille à Paris. Après des etudes à l'École Nationale d'Arts de Cergy-Pontoise, l'artiste est sélectionné pour la résidence "Villa Medicis Hors-les-murs" à Monterrey au Mexique, où il tourne plusieurs films, dont Carnaval Pitbull qui reçoit le premier prix au festival Loop Barcelona en 2006. En 2009, il retourne au Mexique pour tourner une serie de films. Il a été récompensé par le "Golden award" du festival de film Impakt à Utrecht, le prix Mulhouse 002, et nominé pour le prix Gilles Dusein. Ses films sont souvent projetés dans des programmations et festivals du monde entier (Festival Hors pistes - Centre Pompidou-Paris, Rencontres Internationales Paris/Berlin/Madrid, Art Forum - Berlin, festival Courtisane - Gent, Impakt Film Festival - Utrecht...). Jean-Charles Hue a déjà réalisé huit expositions personnelles en France, en Hollande et au Mexique (Ricard Foundation, Galerie Michel Rein, Alliance Française in Mexico, Villa Steinbach of Mulhouse...) et ses travaux ont étés présentés dans de nombreuses expositions collectives.

Aequador est une relation de voyage sans parole: une dystopie équatoriale évoquant les dérives d`un rêve progressiste et moderniste en Amérique latine pendant le XXe siècle. Nous avons imaginé un temps révolu où une idéologie extrémiste se serait lancée à la conquête du territoire amazonien. Le film décrit, sous une forme composite et volontairement fragmentaire, ce présent parallèle où les fausses ruines et reliques d`architectures utopiques en 3D côtoient les constructions vernaculaires et la vie quotidienne d`êtres humains.

Les films de Laura Huertas Millan se situent à la lisière des arts plastiques et du cinéma et mélangent des registres différents, le documentaire, la science fiction ou le fantastique, le détournement d`archives. La question de l`image structure ce travail, souvent à travers des thématiques liées à la violence politique ou sociale. Depuis 2009 elle réalise ainsi une série autour de la notion d?"exotisme", dont « Sin Dejar Huella » (2009), « Voyage En La Terre Autrement Dite » (2011) et « Aequador » (2012). Née en 1983 à Bogota (Colombie), Laura Huertas Millan réside principalement en France depuis 2001. Elle est diplômée avec les félicitations du jury de l`Ecole des Beaux-Arts de Paris et du Fresnoy, Studio national des arts contemporains. Son travail circule dans des festivals internationaux de cinéma (FID Marseille, 25 FPS, Rencontres Internationales Paris/Berlin/Madrid) ainsi que dans des évènements d`art contemporain, galeries ou musées, en France (Printemps de Septembre à Toulouse, Biennale Mulhouse 010, Galerie Edouard Manet Gennevilliers, LAM Villeneuve d`Asq...) et en Amérique Latine (Ciclo Nuevas Propuestas Alianza Francesa, MAMBO, MAC Santiago de Chile, Université de la Plata Argentine...). En 2012 elle intègre le programme doctoral de PSL (ENSBA, ENS Ulm) où elle développera une enquête filmique sur des "fictions ethnologiques".

Voyage En La Terre Autrement Dite s`inspire des premiers récits d`exploration naturelle et ethnographique produits en Amérique par des Conquistadors, des missionnaires ou des scientifiques. Le film est tourné entièrement dans la Serre Equatoriale de Lille, bâtiment construit en 1970 par Jean-Pierre Secq, sorte de Crystal Palace botanique version béton armé. L`architecture et les plantes de ce lieu fermé sont utilisées comme supports narratifs pour un voyage initiatique, accueillant la parole d`un "explorateur" et ses visions. Le film évoque ainsi la naissance du « Nouveau Monde » et les images qu`il a engendrées.

Laura Huertas Millán est née à Bogota en 1983. Elle est lauréate en 2001 de la bourse « d?Excellence » de l?A.E.F.E et en 2003 de la bourse « Major » pour des études universitaires en France. Diplômée en 2009 de l?Ecole des Beaux-Arts de Paris (ENSBA) avec les félicitations du jury, elle intègre le Fresnoy en 2010. Ses vidéos ont été programmés dans divers festivals et expositions en France (FID 2010, Biennale Mulhouse 010, Traverse Vidéo 2010, Saison Vidéo 2011, entre autres) et en Amérique Latine (Musée d?Art Contemporain au Chili, Université de la Plata en Argentine, Musée d?Art Moderne de Bogota, Colombie...). Depuis 2009 elle réalise une série de monobandes (art vidéo) autour de la notion d`"exotisme", dont "Sin Dejar Huella" (2009), "Orénoque" (bourse d`Aide à la Création de la ville de Paris, 2010) et "Voyage En La Terre Autrement Dite" (production le Fresnoy, 2011). Elle prépare le dernier volet de cette série, "Los Elegidos", qui sera tourné en Amazonie colombienne en 2012.

Le rituel de fabrication de la poudre de coca verte (appelée "mambe" ou "Jiíbie") dévoile un mythe ancestral de parenté, dont la transmission se fait par tradition orale. Dans la communauté amazonienne Muina Murui, la plante de coca n’est pas un produit de consommation, mais une interlocutrice sacrée, le cœur battant d’un corps collectif.

Laura Huertas Millán est artiste et cinéaste franco-colombienne, sa pratique se situe à l’intersection entre le cinéma, l’art contemporain et la recherche. Sélectionnées dans les grands festivals de cinéma tels que la Berlinale, Berlin (Allemagne); le Toronto International Film Festival (Canada); le Rotterdam International Film Festival (Pays-Bas); le New York Film Festival (USA) et le festival Cinéma du Réel, Paris (France), ses œuvres ont été primées dans des festivals tels que le Locarno Film Festival (Suisse); le FIDMarseille (France); Doclisboa, Lisbonne (Portugal); Videobrasil, São Paulo (Brésil). Plus de vingt rétrospectives et focus de son travail ont été organisées mondialement, dans des cinémathèques telles que le TIFF Lightbox de Toronto (Canada); la Film Archive de Harvard, Cambridge (USA) ou encore la cinémathèque de Bogota (Colombie), et ainsi que dans des festivals de cinéma majeurs comme celui de Mar del Plata (Argentine), les Rencontres internationales du Documentaire de Montréal (Canada) et le Thessaloniki Documentary Festival, Thessalonique (Grèce). Ses dernières expositions personnelles ont eu lieu au MASP – Museu de Arte de São Paulo (Brésil); à la Maison des Arts de Malakoff (France) et au Musée d’Art Moderne de Medellin (Colombie). Elle a également exposé et projeté ses films dans de nombreuses institutions renommées (Centre Pompidou, Paris (France); Jeu de Paume, Paris (France); Guggenheim Museum, New York (USA); Times Art Berlin (Allemagne)) et dans le cadre de biennales (Liverpool (Royaume-Uni); FRONT Triennial, Cleveland (USA); Videobrasil, São Paulo (Brésil); Videonnale, Bonn (Allemagne)). Ses œuvres font partie de collections privées et publiques (Kadist, San Francisco (USA); CNAP – Centre national des arts Plastiques, Paris (France); Banco de la República de Colombia, Bogota (Colombie); CIFO Collection, Miami (USA); FRAC – Fonds régional d’art contemporain Lorraine, Metz (France), parmi d’autres). Elle détient un doctorat de pratique (programme SACRe), après avoir développé une recherche de pratique cinématographique autour de la "fiction ethnographique" entre l’Université PSL – Paris Sciences et Lettres (France) et le Sensory Ethnography Lab à l’Université de Harvard (USA). Elle travaille régulièrement comme enseignante. Depuis 2019, Laura Huertas Millán et la commissaire Rachael Rakes forment un duo de recherche autour de l’anthropologie critique, les esthétiques et les politiques de la rencontre.

Enemy Blue explores the precarious nature of the video through a narrative on propaganda and ?friendly fire?. The work conflates material from a number of sources, namely, a Committee report made to the United States House of representatives by Edward Hunter, a U.S. governmental investigation ?Misleading Information from the Battlefield: the Tillman and Lynch episodes? and Gerhard Richter?s published notes on political ideology. The work is an attempt to explore the failure of video to articulate politicized historical narratives. Despite the proliferation of digital high definition technologies our access and experience to the wider world is largely mediated through ?poor? images. Hand held camera-phones, telecined archive material, surveillance footage and low-res streams proliferate the political landscape. In an aesthetic anomaly our relationship to these images define a kind of authenticity or participation in the construction of political realities; that despite their lack of information or detail they become imbued with a semblance of truth. In turn the work identifies the use and control of such ?poor? forms as an aspect of political propaganda. While each dialogue offers it?s position in contrast or opposition to a polarized political position, by implication of its subject, it?s meaning is by turns, entirely reversible.

Allan Hughes is an artist from Belfast based in Newcastle Upon Tyne. His video installation work explores the production of remediated histories through the deconstruction of post-production processes. Hughes? works usually proceeds from research into the sites, documents and apparatus of recorded and remediated histories His works examine the precarious position of subjectivity within the constructed narratives of history and the processes of their representation and reception. Hughes unpacks the processes of remediation and establishes a place that privileges listening and the rediscovery of subjective and heterogeneous positions within these narratives. The last year has seen exhibitions of his work at the Belltable Art Centre, Limerick, where he had a solo exhibition and as a part of Temple Bar Gallery?s ?Lights, Camera, Action!?. His work was included in the 2011 Tulca Arts Festival and Rencontres Internationales. In 2010 he was awarded the ACNI Major artist award and in 2009 he was the recipient of a six-month Artist?s Residency Programme at the Irish Museum of Modern Art in Dublin. He has exhibited both nationally and internationally with work shown in the Mediations Biennale in Poznan Poland, UNOACTU in Dresden, the Ormeau Baths Gallery Belfast and the Beursschouwburg in Brussels amongst others.

Allan Hughes lives and works in Belfast, Northern Ireland. He studied at the University of Ulster, Belfast (BA Hons Fine Art, 1996-99 and Master in Fine Art, 2003-05) and has exhibited widely including Spain, Germany, Finland, the US, Taiwan, Russia and Japan. He has received a number of awards and residencies, most recently the Irish Museum of Modern Art Artists Residency Programme in 2009. His work is held in the collection of the University of Ulster.