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«Ce film est né de mon amour pour la musique africaine contemporaine. Je collectionne des enregistrements de cette musique depuis une vingtaine d`années en me concentrant particulièrement sur la musique des anciennes colonies portugaises Angola, Mozambique, Guinée-Bissau et Cap Vert. Un jour, alors que j`étais en train de classer mes enregistrements de musique angolaise, j`ai découvert que je possédais six versions différentes d`une chanson intitulée Muxima. C`est ainsi que le film est né. » Alfredo Jaar

Alfredo Jaar est né en 1956 à Santiago de Chili. Il a remporté le prestigieux MacArthur Fellowship, ainsi que d?autres prix. Il a étudié l?architecture et la réalisation. Depuis 1982, il vit et travaille à New York. Son travail a été exposé dans des expositions individuelles et de groupe dans les musées du monde entier, dont le New Museum of Contemporary Art de New York, le Chicago Museum of Contemporary Art et au Moderna Museet de Stockholm. Jaar a également présenté son travail aux biennales de Venise, de São Paulo, de Johannesburg, de Sydney, d?Istanbul, et de Kwangju. Son travail a été exposé en 2002 à la Documenta de Kassel avec son installation « Lament of the Images ». Alfredo Jaar est un artiste sans compromis. Ses installations combinent des éléments photographiques, architecturaux, et des images documentaires, et explorent les relations complexes développées entre les nations et les soit disant pays du tiers-monde. Dans son travail, Alfredo Jaar suit et souligne les ironies et les injustices qui caractérisent ces relations, et met à jour la recherche systématique du profit qui y sont sous jacentes.

THE GREEN SERPENT nous emmène dans les profondeurs de l`ivresse: boire de la vodka comme expérience transcendantale. Le serpent vert mord et la pénombre se fait. La beauté de la vie devient alors indissociable d`un vide dévastateur, où l`inspiration et la destruction sont symétriques. Durant ce voyage cinématographique à travers l`hiver russe, loin des images de carte postale, nous rencontrons l`acteur Aleksandr Bashirov, le poète Mstislav Biserov et le physicien Nikolai Budnev. Ils nous dévoilent leur relation à la vodka, le combat intérieur et la poursuite d`esprit divins réveillés par la boisson. Ce Cinépoème abrupt explore le potentiel de la vodka à étendre le monde hors du cadre de la religion et du matérialisme. THE GREEN SERPENT est une méditation sur l`acte de boire, moins un hymne aux piliers de bars qu`une ode à tous ceux qui cherchent le merveilleux en espérant trouver l`extase.

Benny Jaberg studied at the Zurich University of the Arts (ZHdK), where he graduated in 2010 with a Master of Arts in film directing. His first feature length and award-winning documentary for cinema «Daniel Schmid – Le chat qui pense» premiered at the 2010th Berlinale and has been shown at numerous film festivals worldwide. Benny Jaberg works as an independent filmmaker and is currently developing several concepts and scripts for documentary and fiction films.

FROM THE HORSE?S MOUTH (I CAN PRODUCE -PRONOUNCE- NUCLEAR), Nisi Jacobs, Video, 11min., 2005. Commissionné par Maya Stendhal Gallery, New York City pour l?exposition VITAL SIGNS 2005. FROM THE HORSE?S MOUTH a aussi un second titre : (I CAN PRODUCE -PRONOUNCE-- NUCLEAR) qui est le c?ur de la motivation de sa création en tant que moment improvisé alors que Laura Bush lisait un monologue comique écrit à l?avance en 2005 lors du Dîner du Correspondant à la Maison Blanche, à Washington D.C.dans lequel elle fait un lapsus et échangé ?produit? avec ?prononce?. L?effet est sidérant car c?est son mari qui, à la table du banquet à la sourire jusqu?aux oreilles en écoutant ses blagues, a oublié de publier le communiqué sur les armes de destruction massives et qui en a fait sa raison pour envahir l?Irak. Les images de confort et l?effet du gag de dégageant visuellement intensifient cette toxicité maladive et cette hypocrisie qui engloutit la salle et ses 2 500 politiciens, journalistes, et médias ?managers? qui se réjouissent de ce trait d?esprit préfabriqué et qui en même temps s?impliquent eux-mêmes dans les crimes du mari de Laura.

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fait partie la Cooper Union for painting, une université subventionnée à New York, a reçu une bourse d?été pour étudier la peinture à Corona en Italie et fut diplômée d?un bac en arts appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, ?Little Bits of Skin (Words) ? fut récemment une partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten au Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos furent exposées en tant qu?installations vidéos et audio à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition ??Fragment in Paradise? ? de Jonas Meka en 2005, au ?Vital Signs? penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs titré ??The Guests??.Nisi Jacobs a amené sa vidéo à l?écran lors de festival à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Fransisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone à Paris.Nisi Jacobs fut la conservatrice de programmes mensuels de vidéos et films expérimentaux à la Phatory Gallery et fut invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2e Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

a loft 16 min., silent, color, 2010 computer assistance; Nisi Jacobs A 3-D glimpse of a downtown Manhattan artist?s loft about to give birth to new artist?s lofts, which is odd, seeing that dentists and the minor hirelings of high finance are likely to be the new renters and buyers. Also odd is the absence of any 3-D technology.

Ken Jacobs Biography Born in Brooklyn, NY, 1933. After completion of high school, I went into the Coast Guard for two years. The GI Bill enabled me to study painting at various schools and to study film at CUNY but it wasn`t until I began studying painting with Hans Hofmann, 1956-57, that I felt that I was studying with someone who had something to teach. Started making films, 1955. I created/directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001, 2010; NYSCA 2001, 2007, 2009; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007; National Society Of Film Critics Annual Awards of 2008 awarded "RAZZLE DAZZLE The Lost World" Best Experimental Film; free 103 point 9 grant, 2010 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009, 2010; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007, 2010; Viennale, Int. Film Festival, 2007,2010; Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain; Nervous Magic Lantern performances: Oklahoma State University; Pacific Film Archives, SF, CA; RedCat Theater, LA, CA, Oct. 2009; Nervous Magic Lantern, Cinematheque, France, Jan.2010; Animism exhibition Antwerp, Belgium & Bern, Switzerland, 2010; gallery exhibition of my films and Nervous Magic Lantern performance, Curtas Vila do Conde, Portugal.

excerpt from THE SKY SOCIALIST stratified A digital visit in 2009 to where we, Flo and I, had been in 1964/65. Young people of today, take my word there`s no exaggerating how vivid, of the moment, whizbang and splendidly new 1964 and 65 were in their time. True, I was entering my thirties but Flo, my child-bride, was turning 23. Underground Cinema had gotten momentarily hot just as my 16mm camera was stolen. I recoiled from the throng pushing to enter the circle of cheap celebrity and switched to 8mm. I then filmed THE SKY SOCIALIST, a sunny feature during the time of US assault upon the Vietnamese people -why? because they were there, they were "yellow". and profit margins couldn`t be better, and afterwards Flo and I struggled to make a decent 16mm. blow-up, yet to happen. The purpose of cinema as I understood it then was to lie, in order to make history bearable. The lie, however, was to be obvious enough so as to allude to the truth; film was a lie that invited seeing through, it was like religion but with a more of a wink. Flo then became a stand-in for Anne Frank, while The Muse Of Cinema flew to the rescue with a happy ending mostly because she knew doing so gave her a chance to look good. Our days were permeated with the transcendent music of Olivier Messiaen and Charles Ives and Arnold Schoenberg and so, naturally, was this perfectly self-indulgent movie. For this return visit some of Messiaen can still be heard, contending with the supremely hip sensibility of Michael Schumacher.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

THE DAY WAS A SCORCHER Movie-star Flo, Nisi the thoughtful young girl, and Aza old enough to trudge with the rest of us but still expecting to be pushed around on wheels. The sun doesn`t kid around when it`s a sunny day in Rome. But it`s a perfect day , when -as said- nothing happens.

Ken Jacobs: Resume/Biography Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000; Distinguished Prof. of Cinema Emeritus, 2002- Grants and Awards (a selection): D.A.A.D. 1986; Maya Deren Award 1994; J.S. Guggenheim Fellowship 1995; N.E.A. 1995; The Rockefeller Foundation special grant 1999; NYFA 2001; NYSCA 2001, 2007; NYSCA distribution grant 2002; Fund For Jewish Documentary Filmmaking 2003; Stan Brakhage Vision Award 2004; Los Angeles Film Critics Association -The Douglas Edwards Experimental/Independent Film/Video Award 2004 (for ?Star Spangled To Death?); Il Cinema Ritrovato DVD Awards 2006 III edizione, Bologna (special mention/experimental for ?Star Spangled To Death?); renew media (Rockefeller Foundation) grant 2007, Oberhausen prize of the Jury of the Minister President of North Rhine-Westphalia, May 2007; awarded Great Prize ?15th Curtas Vila do Conde, Portugal, July 2007, Gran Prix (one of 3) 25 FPS Festival, Zagreb, Croatia, October, 2007; awarded Best Experimental short film Curta Cinema, Dec. 2007, 2008 Rio De Janeiro Int. Short Film Fest.; ?Tom, Tom, The Piper?s Son? named to the National Film Registry, Dec. 27, 2007 Included in The Whitney Museum of American Art, Biennial 1981, 1985, 1989, 1995, 1997, 2002. Included in The Whitney Museum of American Art, The American Century: Art and Culture, 1950-2000, 1999-2000; Film and film/performance retrospective, American Museum of the Moving Image 1989; included in the N.Y. Film Festival at Lincoln Center 1991, 1998, 2001, 2002, 2003, 2005, 2006, 2007, 2008, 2009; partial retrospective of films and film/performance work, The American Center, Paris, 1994; partial retrospective of film/performance works, Museum of Modern Art, 1996; included in (a selection): Oberhausen Short Film Festival 1996, 2007; Berlin Film Festival, 1997,2007; Taormina Film Festival, 1997; London Film Festival 2000, 2003, 2006, 2007; Rotterdam Film Festival 2001, 2003, filmmaker-in-focus, 2004, 2005, 2006, 2007, 2008, 2009; Hong Kong International Film Festival, 2003, 2004, 2006; Tribeca Film Festival 2003, 2006, 2007, 2008, 2009; a featured artist (partial retrospective) Argosfestival, Brussels, 2004, 2007; Jeonju International Film Festival 2004, 2005, 2006, 2007, 2008, 2009; Jeon (Seoul Film Festival 2005, 2007; Cinematexas International Short Film Festival 2004, 2005; Starz Denver International Film Festival 2004; inc. in Movies on the Mind; Psychology and Film Since Sigmund Freud (Exhibition, Publication and Film Series) 9/2006-1/2007, Film Museum Berlin; World premiere of digital version of my Nervous System film/performance ?Two Wrenching Departures? MoMA, Oct. 2006; included in the Danish documentary and experimental film festival, Copenhagen, Nov.10-20, 2006; inc. in the Rio de Janeiro International Short Film Ken Jacobs: Resume/Biography (continued) page 2 Festival, 2006, 2008, 2009; San Francisco Int. Film Festival 2007, ?Star Spangled To Death? inc. in Documenta 12 (July 18/19, 2007); included in 15th Curtas Vila do Conde Int. Short Film Fest., Portugal, 2007; inc. in American Film Festival in Moscow, 2007, 2008; inc. in Toronto Int. Film Festival, Wavelengths, 2007; Viennale, Int. Film Festival, 2007, Austria; Leeds Int. Film Fest., 2007; Torino Film Festival, 25th 2007, 26th 2008, 27th 2009; Sonic Acts XII, Feb. 2008, Amsterdam, the Netherlands; James River Film Festival, April 2008; BAFICI 10 Cine Independiente, Argentina, April, 2008; EXIS 2008, Seoul, Korea, Sept. 2008; 25fps Zagreb, Croatia, Sept. 2008; ?Return To The Scene Of The Crime? premiere Louvre, May, 2008; ?Return To The Scene Of The Crime?, Tate Modern, Sept. 2008; Valdiva Film Fest., Chile, Oct. 2008; Lausanne Underground Fest., Switzerland, Oct. 2008; ?Return To The Scene Of The Crime? premiered in NYC, MoMA, Oct. 16-22 (with other films); Bolzano ShortFilmFestival, Nov., 2008; Dallas Video Festival, Nov. 2008; Janela, Brazil, Nov. 2008; AURORA, Film Festival, Norwich, UK, Nov. 2008; Avanto Festival, Helsinki, Finland, Nov. 2008; KYTN, England, Dec. 2008; Les Rencontres Internationales 2008, 2009; Nervous Magic Lantern performace Harvard Film Archives, Jan. 11-13, 2009; premiered ANAGLYPH TOM (Tom With Puffy Cheeks) Anthology Film Archives, May 15-21, 2009; short film WHAT HAPPENED ON 23rd STREET IN 1901 inc. Curtocircuito 6th Int. Short Film Festival 2009, Santiago de Compostela , Spain; HOT DOGS AT THE MET inc. Ourense Int. Film Fest. , Spain Filmography of Ken Jacobs ORCHARD STREET, 1955, 12 min., clr. silent THE WHIRLED, 1956-63, 19 min., b/w & clr., sound & silent STAR SPANGLED TO DEATH, 1957-59, completed (in digital) 2003-4, 440 min., b/w & clr., sound LITTLE STABS AT HAPPINESS, 1958-60, 18 min., clr., sound BLONDE COBRA, 1959-63, 30 min., b/w & clr., sound BAUD`LARIAN CAPERS, 1963, 25 min., silent & sound WINDOW, 1964, 12 min., clr. silent THE WINTER FOOTAGE, (1964-8mm.) (1985-16mm.) 50 min., clr., silent THE SKY SOCIALIST, (1964-65 8mm.) 16mm. to be completed 2006, approx. 2 hrs., clr., sound LISA AND JOEY IN CONNECTICUT, JANUARY `65: "YOU`VE COME BACK!" "YOU`RE STILL HERE!", 1965, 18 min., clr., silent AIRSHAFT, 1967, 4 min., clr., silent SOFT RAIN, 1968, 12 min., clr., silent NISSAN ARIANA WINDOW, 1968, 15 min., clr., silent TOM, TOM, THE PIPER`S SON, 1969, 115 min., b/w, silent (distributed on PAL vhs 2000, NTSC vhs 2002 together with a book of essays) GLOBE, 1969, 22 min., clr., sound Ken Jacobs: Resume/Biography (continued) page 3 URBAN PEASANTS, 1975, 50 min., b/w, silent image alternated with sound-in-dark SPAGHETTI AZA, 1976, 1-1/2 min., clr., silent THE DOCTOR`S DREAM, 1978, 27 min., b/w, sound PERFECT FILM, 1985, 27 min., b/w, sound JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE, 1987, 15 min., clr., silent OPENING THE NINETEENTH CENTURY: 1896, 1990, 11 min., b/w, silent KEATON`S COPS, 1991, 23 min., b/w, silent THE GEORGETOWN LOOP, 1996, 11 min., 35mm. & 16mm., b/w, silent DISORIENT EXPRESS, 1996, 30 min., 35mm. & 16mm., b/w, silent; Theater Works (a selection): all involved shadow-play or unusual uses of film. Each lasted about 90 minutes. THE BIG BLACKOUT OF `65: Chapter One "Thirties Man", 1965 RESTFUL MOMENTS, 2 and 3-Dimensional shadowplay, 1970 A GOOD NIGHT FOR THE MOVIES: 4th OF JULY BY CHARLES IVES BY KEN JACOBS, 1972 A MAN`S HOME IS HIS CASTLE FILMS: THE EUROPEAN THEATER OF OPERATIONS, 1974 "SLOW IS BEAUTY" -RODIN, 2 and 3-Dimensional shadowplay, 1974; MUMOK, Vienna, 2004 THE BOXER REBELLION, 2 and 3-Dimensional shadowplay, 1975 AIR OF INCONSEQUENCE, 3-Dimensional shadowplay, 1977 Ken Jacobs At The Console Performing STICK TO YOUR CARPENTRY AND YOU WON`T GET NAILED, 1979 AUDIO-VISUAL VAUDEVILLE, 2 and 3-Dimensional shadow-play, 1982, 1994, 2000 Film-Performances of THE NERVOUS SYSTEM; a unique double-analysis projector set-up designed to derive 3-D from standard 2-D film, most often archival and other found-footage materials (all performance lengths are approximate). THE IMPOSSIBLE: Chapter One "Southwark Fair", 1975, (1 hr.) THE IMPOSSIBLE: Chapter Two "1896", 1979, (11 min.) THE IMPOSSIBLE: Chapter Three "Hell Breaks Loose", 1980, (25 min.) THE IMPOSSIBLE: Chapter Four "Schilling", 1980, (1 hr.) THE IMPOSSIBLE: Chapter Five "The Wrong Laurel", 1980, (7 min.) XCXHXEXRXRXIXEXSX, 1980, (90 min.) KEN JACOBS THEATER OF UNCONSCIONABLE STUPIDITY PRESENTS CAMERA THRILLS OF THE WAR, 1981, (90 min.) THE WHOLE SHEBANG, 1982, (70 min.) Ken Jacobs: Resume/Biography (continued) page 4 MAKING LIGHT OF HISTORY: THE PHILIPPINES ADVENTURE, 1983, (90 min.) TWO WRENCHING DEPARTURES, 1989, (2 hrs.) THE SUBCINEMA, 1990, (2 hrs.) NEW YORK GHETTO FISHMARKET 1903, 1993 (90 min.) BITEMPORAL VISION: THE SEA, 1994, (90 min.) THE MARRIAGE OF HEAVEN AND HELL (A Flicker Of Life), 1995 (90 min.) LOCO MOTION, 1996, (25 min.) FROM MUYBRIDGE TO BROOKLYN BRIDGE, 1996 (includes "Muybridge On Wheels" (animated slides), "The Georgetown Loop" (film), "Loco Motion" (Nervous System work), "Disorient Express" (film), "On The Bridge" (Nervous System work) 90 min. COUPLING, 1996 (1 hr.) ONTIC ANTICS STARRING LAUREL AND HARDY, 1997 (1 hr.) NEW YORK STREET TROLLEYS 1900, 1997 (25 min.) UN PETIT TRAIN DE PLAISIR, 1998 (25 min.) Further Performance Work utilizing THE NERVOUS MAGIC LANTERN; a single self-designed projector that creates 3-D cinema without use of use of film or video, a 3-D which, like Nervous System works, can be seen in 3-D by the unaided eye, the single eye. CRYSTAL PALACE (Chandeliers For The People), 2000 (40 min.) A PLACE WHERE THERE IS NO TROUBLE, 2002 (1 hr.) LOCAL HUBBLE (For Marilyn and Stan Brakhage), April 2003 (1 hr.) LOCAL HUBBLE II: La Conference Des Oiseaux, March 2004 (1 hr.) CELESTIAL SUBWAY Last Stop All Out (music by Black Dice), March 2004, (1 hr.) CELESTIAL SUBWAY LINES 2,3,4,(multiple performances; music by John Zorn assisted by Ikue Mori) May 2004 (45 min.) SEEING IS BELIEVING (music by Rick Reed) September 2004 (1 hr.) SALVAGING NOISE (music by John Zorn assisted by Ikue Mori) October 2004 (1 hr.) INTERSTELLAR LOWER EAST SIDE RAMBLE (music by John Zorn assisted by Ikue Mori) January 2005, (1 hr.) Live Nervous Magic Lantern performance, April 2007 KYTN ?Dundee Contemporary Arts, Scotland Live Nervous Magic Lantern performance Lumen, May 2007, Leeds, England Live Nervous Magic Lantern performance, NYFF, October, 2007 Live Nervous Magic Lantern performance, Bozar, October, 2007, Brussels, Belgium Live Nervous Magic Lantern performance, Sonic Acts XII, Amsterdam, the Netherlands, February, 2008 Live Nervous Magic Lantern performance, Avanto Festival, November, 2008 Ken Jacobs: Resume/Biography (continued) page 5 Live Nervous Magic Lantern performance, KYTN ?England, November, December, 2008 Live Nervous Magic Lantern performance, Rotterdam Film Festival, January, 2009 Live Nervous Magic Lantern performance, Harvard Film Archive, January, 2009 Videography of Ken Jacobs FLO ROUNDS A CORNER, 1999, 6 min., clr., silent, digital computer work NEW YORK STREET-TROLLEYS 1901, 1999, 10 min., b/w, sound A TOM TOM CHASER, 2002, 10-1/2 min., b/w, silent, digital computer work CIRCLING ZERO: Part One WE SEE ABSENCE, 2002, 114 min., clr., sound, KEEPING AN EYE ON STAN, 2003, 117 min., clr., sound, CELESTIAL SUBWAY LINES/SALVAGING NOISE, 2004, 108 min., clr., music by John Zorn assisted by Ikue Mori, a Tzadik DVD MOUNTAINEER SPINNING, 2004, 26 min., clr., music by Rick Reed KRYPTON IS DOOMED, 2005, 34 min., clr., sound (Superman radio-play 1940) INSISTENT CLAMOR, 2005, 22 min., clr., music by Margaret Shelton Meier LEEDS BRIDGE 1888, 2005, 6 min., b/w, silent SPIRAL NEBULA, 2005, 45 min., clr., music by Rick Reed INCENDIARY CINEMA, 2005, 1 min., clr., sound (2005 Viennale Festival cine-logo) LET THERE BE WHISTLEBLOWERS, 2005, b/w & clr., 18 min., sound composed to DRUMMING, Part 1 by Steve Reich ONTIC ANTICS STARRING LAUREL AND HARDY; BYE, MOLLY, 2005, b/w & clr., 90 min., sound NEW YORK GHETTO FISHMARKET 1903, 2006, b/w & clr., 2 hrs. 12 min., music by Catherine Jauniaux and Tom Cora, (Tzadik DVD released March 2007 with THE SURGING SEA OF HUMANITY) PUSHCARTS OF ETERNITY STREET, 2006, b/w, 10 min., silent TWO WRENCHING DEPARTURES, 2006, b/w, 90 min., sound CAPITALISM: CHILD LABOR, 2006, 14 min., clr.,music by Rick Reed CAPITALISM: SLAVERY, 2006, 3 min., clr., silent THE SURGING SEA OF HUMANITY, 2006, 10 min. 40 sec., clr., silent RAZZLE DAZZLE The Lost World, 2006, 92 min., b/w & clr., sound WE ARE CHARMING, 2007, 1 min., b/w, silent HANKY PANKY JANUARY 1903, 2007, 1 min., b/w, silent NYMPH, 2007, 3min., b/w, silent MY FAVORITE WIFE IMPROVED, 2008, 2 min., b/w, sound RETURN TO THE SCENE OF THE CRIME, 2008, 93 min., b/w & clr., music by Malcolm Goldstein THE SCENIC ROUTE, 2008, 25 min., clr., sound THE GUESTS, 2008, 89 min., b/w, sound. Lumiere?s Entree D?Une Noce A L?Eglise; sequential film-frames combine, via slight convergence of the eyes, to produce (irrational) 3-D. Ken Jacobs: Resume/Biography (continued) page 6 ALONE AT LAST, 2008, 1 min. 53 sec., silent THE DISCOVERY, 2008, 4 min. 52 sec., silent LOVE STORY, 2008, 33 sec., silent HOT DOGS AT THE MET, (HD) 2008, 10 min., sound ANAGLYPH TOM, (TOM WITH PUFFY CHEEKS), 2008, 118 min., music by Michael Schumacher, Nisi Jacobs, Malcolm Goldstein; Movement by TOM TOM cast-members converted to (irrational) stereo via red/cyan spectacles WHAT HAPPENED ON 23rd STREET IN 1901, 2009, 13 1/2 min., silent ??SLOW IS BEAUTY? ?RODIN?, 2009, 51 min. clr., anaglyh 3-D recording (original performance 1974, revived 2004), sound BROOK, (HD) 2009, 2? 15?, clr., silent BOB FLEISCHNER DYING, (HD) 2009, 2?42?, clr., silent THE DAY WAS A SCORCHER, (HD) 2009, 7?48?, clr., silent JONAS MEKAS in KODACHROME DAYS, (HD) 2009, 3?19?, clr., silent WALKWAY, (HD) 2009, 8?24?, clr., silent excerpt from THE SKY SOCIALIST stratified, 2009, 18?, clr., sound BRAIN OPERATIONS, (HD) 2009, 22?22?, b/w, silent RON GONZALEZ, SCULPTOR, (HD) 2009, 20?, clr., sound GRAVITY IS TOPS, (HD), 2009, 10?M clr., sound Cine-Installations ZOOM, 1967 -viewer installed on a moving NY ferryboat as part of the NY Avant-Garde Festival. FESTOON, 1975 35 mm. film hung outdoors for individual viewing in (irrational) 3-D THE GUESTS, 1999, 3-D slide installation (74 min. continuous cycle) based on Lumiere?s ENTREE D?UNE NOCE A L?EGLISE, by Ken and Flo Jacobs Re-installed, with sound accompaniment by Nisi Jacobs, at the Maya Stendhal Gallery, NY, 2005 GIFT OF FIRE Nineteen (Obscure) Frames That Changed The World, 2007, 28 min., sound. Anaglyph 3-D; can be shown on a monitor or with a single projector, viewed through red/blue spectacles. 19 film-frames remain of artist-inventor Louis Le Prince`s 1888 movie-recording of Leeds Bridge, the first or near-first movie ever made. Here seen in stereo, Leeds Bridge (U.K.) is again active in deep space. Other 3-D comments regarding the rise of cinema are made. A 6`4 man among a 5`2 population, this giant "vanished" on the way to the patent office, quite possibly a feat of wizardry (skullduggery?) by The Wizard Of Menlo Park, Thomas Edison. Suspicions remain but now Edison is also gone and there`s only the film-fragment (originally over 200 frames) left to investigate. Also available as a Polaroid two-projector installation.

Selon l'artiste, l'une des belles choses dans les films, c'est qu?on peut les garder à distance. Mais « The Scenic Route », semble déborder de l'écran, en mettant continuellement en danger les lignes de démarcation.

Ken Jacobs est né en 1933 à Brooklyn, New York (USA). L'artiste a commencé à faire des films en 1955. Il a créé et dirigé The Millénaire Film Workshop à New York de 1966 à 1968 et a fondé le Département de Cinéma à la SUNY de Binghamton (USA) en 1969. Il a été professeur de cinéma de 1974 à 2000, professeur distingué en 2000, et professeur distingué émérite en 2002. Il a reçu de nombreuses bourses et prix pour son travail, qui a été présenté internationalement. Parmi les plus récents, signalons notamment le Grand Prix au Festival 25 FPS de Zagreb (Croatie) en 2007, et le prix du meilleur court-métrage expérimental à Curta Cinema (Rio de Janeiro) en 2007. Son ?uvre comprend des films, des pièces de théâtre, des films-spectacles, des vidéos et des ciné-installations.

Une antique image stéréographique de ramasseurs de coton, animé par ordinateur pour présenter la scène d'une profondeur active, même pour les borgnes. Silencieux, mélancolique, bref.

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

"Ce film marque l'invention de la sexualité humaine et en tant que tel, témoigne d'un tournant dans l'histoire des relations entre les hommes et les femmes " (Ken Jacobs).

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

La reine du bal entourée de sa cour. Une vidéo en 3-D qui ne nécessite pas de lunettes spéciales et peut même être regardée par les borgnes

Born, 1933, Brooklyn, New York Studied painting with Hans Hofmann, 1956-57. Started making films, 1955. Created/Directed The Millennium Film Workshop, N.Y.C.1966-68; started the Dept.of Cinema at S.U.N.Y. at Binghamton, 1969; Professor of Cinema1974-2000; Distinguished Prof. of Cinema, 2000-

YOSHIKO 5`, 2007, DV, A/V By Nisi Jacobs YOSHIKO, collage d'images volées et de vidéos auto-produites, est un hommage à mon amie de toujours, Yoshiko Masuzawa. Yoshika a émigré aux Etats-Unis au début des années soixante et habitait dans l'appartement du dessous. Elle a vécut pendant la guerre enfant et m'apprit des manières importantes; la seule fois où je la vis fâchée ce fût quand, enfants, nous avions commencé à jouer et à lancer du riz à table. Elle nous dit que le riz la garda en vit, elle et sa famille pendant la guerre, que c'était précieux et qu'il ne fallait pas le jeter. Comme les autres membres de sa famille, Yoshika souffrait, et cela avec une grâce immense, d un cancer du colon, pendant les dernières années. Elle a été récemment diagnostiquée avec une forme de cancer terminal et emménagea dans un hospice. Ce film est une tentative de conserver le regard et l'admiration que je porte à son esprit de tigresse, son humour et son humanité gracieuse. -Nisi Jacobs, 10/17/07

Nisi Jacobs is a video creator and video performance artist, born and raised in NYC. She holds a BFA in Painting from The Cooper Union, instructs video editing at NYU`s Graduate Center of Advanced Digital Applications, SohoEditors NYC, and Future Media Concepts, and programs the Sunset Sessions at Diapason Sound Art Gallery. She has instructed video editing at NYU`s Department of Film, Video and Broadcast, The New School, The Edit Center, New York Film Academy, and Harvestworks. Nisi performs live video with DRAW and Aeroplane Pageant and her videos have been shown in programs and festivals at the Madrid at the Circulo de Bellas Artes, in Paris at the Jeu De Paume Museum, SONAR festival at the Caracas Contemporary art museum, The Alejandro Otero Museum, and The national Cinématheque of Spain, at the Maya Stendhal Gallery, NYC, Manchester Metropolitan University, England, Tribeca Film Festival 2003, Sarah Lawrence College, The New School, Mass Art, The Donnell Library, San Francisco Cinematheque, roArtario Paris-Berlin, Glaz Art Festival, Hong Kong Film Festival, The Millennium, and Anthology Film Archives. In 2002, the soundtrack for her video "Dishing" was listed as KQED radio`s on-line choice of the month for EARSHOT: LISTEN TO A FILM WITHOUT PICTURES. She was recipient of the creative writing award by direction of Frank McCourt, author of Angela`s Ashes, upon grduation from Stuyvesant high school. Her work is distributed through RoArtario Paris/Berlin, Light Cone, Paris, New York Film-Maker`s Cooperative. Nisi curated monthly programs of video/film at The Phatory Gallery for the winter through summer months of 2005 in 5.1 surround sound and was invited to include two programs from this series for SYNCH FESTIVAL, the 2nd Edition of Electronic Music & Digital Arts Festival in Lavrio, Athens Greece, 2005, as well as for the HOWL Festival, 2005. She was Image/Sound Editor for STAR SPANGLED TO DEATH, the four-part internationally distributed 7-hour-forty-minute documentary (www.starspangledtodeath.com) by Ken Jacobs, which won The Douglas Edwards Experimental/Independent Film/Video Award by the Los Angeles Film Critics in 2005 and enjoyed screenings at Argos Festival (Brussels), Centre Pompidou Museum (Paris, France), Festival International Nouveau Cinema (Montreal), Artopos (Athens, Greece), CAL ARTS (LA), Starz Denver Film Festival (Denver), Cinematexas (Austin, Texas), Oesterreiches Filmmuseum (Vienna), Rotterdam Film Festival (Holland), Hong Kong Film Festival, MoMa at the Gramercy Theater (NY), Chicago Filmmakers, The Anthology Film Archives (NY), San Francisco Cinematheque (CA), NY Film Festival at Lincoln Center, London Film Festival, The Donnell Library, and Slovenska Kinoteka (Ljubljana, Slovenia). Nisi is presently working with Aeroplane Pageant on live projection performances with Aeroplane Pageant (www.aeroplanepageant.com), and has performed recently with the band at Bowery Ballroom, Mercury Lounge, PIANOS, Crazy Donkey, and Grace Gallery, and with electronic sound artist and composer Michael J. Schumacher (www.michaeljschumacher.com) on video/sound collaboration called DRAW. An interview with Nisi Jacobs and Family distributed through LOGOS JOURNAL ONLINE can be read at www.logosjournal.com/issue_4.3/jacobs.htm. Distribution: The New York Film-Makers Cooperative RoArtario Paris/Berlin Light Cone Paris

NOTHING/MOVING fut crée pour l?exposition de Jonas Mekas. Fragments de paradis à la Galerie Maya Stendhal , ville de New York, comme une installation à canal simple sur plusieurs moniteurs basée sur le film épique de Jonas Mekas "As I was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty", 16 mm, 2000. Pellicule- journal de vingt-cinq ans de vie à SoHo, à New York, et les commentaires spontanés d'une voix-off sont utilisées comme un matériel brut, avec des morceaux de bandes sonores de "Zazie dans le métro" de Louie Malle, que j?ai vu pour la première fois à l?anthologie de Mekas à SoHo en 1976, et des chants d?oiseaux exotiques formant un poème visuel/sonore en hommage à Jonas Mekas. Crédits : Nisi Jacobs avec Pip Chodorov. Film original de Jonas Mekas. N.J.

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fréquentait la Cooper Union for painting, une Université subventionnée à New York, elle a reçu une bourse d?été pour étudier la peinture à Corona, en Italie et elle est diplômée d?un bac en Arts Appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?Université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, «Little Bits of Skin (Words)" a récemment fait partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten à l' Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos ont été exposées en tant qu?installations vidéos et audios à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition "Fragment in Paradise" de Jonas Meka en 2005, au "Vital Signs" penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs intitulé ??The Guests??.Nisi Jacobs a projeté sa vidéo lors de festivals à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Francisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker's Cooperative, RoArtario Paris/Berlin, Light Cone à Paris. Nisi Jacobs a été la conservatrice de programmes mensuels de vidéos et de films expérimentaux à la Phatory Gallery et a été invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2ème Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

Epacta est le mot Latin pour le nombre de jours qui doivent être calculés pour synchroniser les calendriers lunaires et solaires. L?année solaire est de 365 jours et l?année lunaire est de 354 jours, il faut donc habituellement 11 jours pour les mettre en phase. J?ai pris des sons d?instruments lunaires, de cordes et de passerelles en métal, crées par les petits tiraillements des bateaux sur les docks dans les ports, mais crées aussi par la gravitation lunaire sur nos corps aqueux. L?audio de EPACTA LUNAE, A DAY AND A HALF, dérivé d?enregistrements naturels sur plusieurs niveaux dans un lit d?accords synthétisés. EPACTA LUNAE, A DAY AND A HALF est le premier poème vidéo sonore qui est inclus dans un projet beaucoup plus large nommé THE MOON?S GUITAR, COLLABORATION WITH THE TIDES..

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fait partie la Cooper Union for painting, une université subventionnée à New York, a reçu une bourse d?été pour étudier la peinture à Corona en Italie et fut diplômée d?un bac en arts appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, ?Little Bits of Skin (Words) ? fut récemment une partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten au Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos furent exposées en tant qu?installations vidéos et audio à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition ??Fragment in Paradise? ? de Jonas Meka en 2005, au ?Vital Signs? penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs titré ??The Guests??.Nisi Jacobs a amené sa vidéo à l?écran lors de festival à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Fransisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone à Paris.Nisi Jacobs fut la conservatrice de programmes mensuels de vidéos et films expérimentaux à la Phatory Gallery et fut invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2e Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

FROM THE HORSE?S MOUTH (I CAN PRODUCE -PRONOUNCE- NUCLEAR), Nisi Jacobs, Video, 11min., 2005. Commissionné par Maya Stendhal Gallery, New York City pour l?exposition VITAL SIGNS 2005. FROM THE HORSE?S MOUTH a aussi un second titre : (I CAN PRODUCE -PRONOUNCE-- NUCLEAR) qui est le c?ur de la motivation de sa création en tant que moment improvisé alors que Laura Bush lisait un monologue comique écrit à l?avance en 2005 lors du Dîner du Correspondant à la Maison Blanche, à Washington D.C.dans lequel elle fait un lapsus et échangé ?produit? avec ?prononce?. L?effet est sidérant car c?est son mari qui, à la table du banquet à la sourire jusqu?aux oreilles en écoutant ses blagues, a oublié de publier le communiqué sur les armes de destruction massives et qui en a fait sa raison pour envahir l?Irak. Les images de confort et l?effet du gag de dégageant visuellement intensifient cette toxicité maladive et cette hypocrisie qui engloutit la salle et ses 2 500 politiciens, journalistes, et médias ?managers? qui se réjouissent de ce trait d?esprit préfabriqué et qui en même temps s?impliquent eux-mêmes dans les crimes du mari de Laura.

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fait partie la Cooper Union for painting, une université subventionnée à New York, a reçu une bourse d?été pour étudier la peinture à Corona en Italie et fut diplômée d?un bac en arts appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, ?Little Bits of Skin (Words) ? fut récemment une partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten au Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos furent exposées en tant qu?installations vidéos et audio à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition ??Fragment in Paradise? ? de Jonas Meka en 2005, au ?Vital Signs? penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs titré ??The Guests??.Nisi Jacobs a amené sa vidéo à l?écran lors de festival à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Fransisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone à Paris.Nisi Jacobs fut la conservatrice de programmes mensuels de vidéos et films expérimentaux à la Phatory Gallery et fut invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2e Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

Frappée par la facilité avec laquelle quelqu?un d?aussi expressif et articulé que mon père à perdre son aptitude à parler en une nuit à cause d?une crises cardiaque, j?ai commence à filmer le texte de la ville. Le son enregistré est un montage de dialectes fabriqués par Peter Rose quand je l?ai enregistré lire un poème que j?ai écrit et mélangé avec une lamentation altérée synthétiquement. Des moments mutilés de l?écriture provenant de jours, au hasard, après la crise cardiaque se meuvent en des blocs de mots formels dans un environnement jouant entre la langage en tant que symbole, le langage en tant qu?image, et le langage en tant qu?expérience. N.J.

Nisi Jacobs est née et a grandi à New York. Elle est allé à la Stuyvesant High School où elle a étudié l?écriture créative avec Frank McCourt, l?auteur de ?Les Cendres d?Angela? et ?Tis?. Mlle Jacobs fait partie la Cooper Union for painting, une université subventionnée à New York, a reçu une bourse d?été pour étudier la peinture à Corona en Italie et fut diplômée d?un bac en arts appliqués. Elle enseigne en ce moment au Digital Editing du Graduate Center de l?université de New York ainsi qu?au Digital Editing and Sound Design de la New York Film Academy. Son ?uvre, «Little Bits of Skin (Words) ? fut récemment une partie d?un festival affilié au New York Film Festival programmé par Mark McElhatten au Anthology Film Archives ainsi qu?au Invisible Film Series du Millennium Film Workshop. Ses vidéos furent exposées en tant qu?installations vidéos et audio à la Maya Stendhal Gallery à Chelsea (New York). Elles ont aussi participé à l?exposition ??Fragment in Paradise? ? de Jonas Meka en 2005, au?Vital Signs?penchée sur la politique de l?exposition du groupe d?été (2005) et aussi comme une installation sonore de 70 min en Surrond 5.1 pour l?installation de la projection du film de Ken et Flo Jacobs titré ??The Guests??.Nisi Jacobs a amené sa vidéo à l?écran lors de festival à Paris, Berlin, Athènes en Grèce, à Hong Kong, au Royaume-Uni, à San Francisco, à New York mais aussi au Tribeca Film Festival (2003). Cette vidéo est en ce moment distribuée par la New York Film-Maker`s Cooperative, RoArtario Paris/Berlin, Light Cone à Paris. Nisi Jacobs fut la conservatrice de programmes mensuels de vidéos et films expérimentaux à la Phatory Gallery et fut invité à prendre part à deux programmes de cette série pour SYNCH FESTIVAL, la 2e Edition of Electronic Music & Digital Arts Festival in Lavrio, à Athènes, Grèce, en juillet 2005 ainsi que le HOWL festival lors de l?été 2005.

Time Like Zeros is a reference to serving a life sentence in prison that is mentioned by one of eight women prisoners who narrate the film, and it is echoed visually in both the camera movement that encircles the prison and the circles of razor wire that whiz by as the scene moves from the exterior fence to the darkest cells of the prison.

Carol Jacobsen is an award winning documentary filmmaker whose work investigates issues of women?s criminalization, human rights and censorship. Her work, sponsored by Amnesty International, Human Rights Watch and other organizations, has been shown worldwide, including at Lincoln Center, New York; Feminist Film Festival in Paris; Centre de Cultural Contemporanea, Barcelona; Temple Gallery, Rome; Beijing, China; Human Rights Watch Film Tour, and elsewhere. She has received awards from the National Endowment for the Arts, The Paul Robeson Foundation, Women in Film Foundation, Art Matters, Rockefeller Foundation, and others. Her critical essays on feminism, art and politics have appeared in The New York Law Review, Art in America, Hastings Women?s Law Journal, Social Text, Signs Journal, Exposure, Heresies, and other publications. She is Professor of Art, Women?s Studies and Human Rights at The University of Michigan; and she is represented in New York by Denise Bibro Gallery. She serves as Director of the Michigan Women?s Justice & Clemency Project, www.umich.edu/~clemency a nonprofit, grassroots effort seeking human rights for women prisoners and freedom for women wrongly incarcerated.

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

The film hovers over the speculations of a monotonous future where beings have lived all possible lives. A climbing gym serves as the futuristic scenario for a succession of dialogues, abstractly connected by the recurrence of three after-animal-named characters: a Whale, a Tortoise and a Parrot. Their conversations go in and out a meta-film that confuses itself with the one we’re actually watching. Among other things, they speak about the desire to die or the impossibility to lie in a limitless timespan. The shooting script of this film was affected by a technical condition: the take length of a Bolex compact 16mm film camera, which is limited to 25 seconds. This forced the fragmentation of the desired long take into 25-second clips. As a solution, all these clips were concatenated by matching images. The so-called keyframes – which are mostly climbing holds on the walls – produce a pseudo-long shot divided by countless jump-cuts. Thus, the film has a stepped but unequivocal real-time pace.

Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of Barcelona and furthered his studies at the Städelschule in Frankfurt, where he studied under Simon Starling and Peter Fischli. He uses film and video as a binding agent for the various media deployed in his works. Recent exhibitions include those taking place at The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris), Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil (Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield), and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE (Enschede), and Tokyo Wonder Site (Tokyo). He has been the recipient of several prizes and grants in Spain, as well as awarded the Premi GAC to the best exhibition of the year 2011 in a gallery. He has released books with publishers such as Mousse Publishing (Milano), Save As… Publications (Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’ writings Texto.

Daniel Jacoby makes abstract narrations using videos, texts, publications, performances and various other formats. They draw together a variety of scientific curiosities, anecdotes and references that often intertwine, but always leave a portion of uncertainty. In these complex environments, elements interact under unknown logics where the lack of conclusions is somehow replaced with poetry. Collaborating with creators and professionals from other disciplines is a crucial part of his work.

After receiving an MA in Artistic Research and Production at the University of Barcelona, Daniel Jacoby (Lima, 1985) has complemented his experience with residencies in Japan (Tokyo Wonder Site) and in The Netherlands (ARE). Recent exhibitions include "Platypus Logic" (solo) at Galeria Toni Tàpies (Barcelona), "adenOrr" (solo) at Museu de l'Empordà (Figueres), the 11th Cuenca Biennial (Cuenca), "Julio #5" at Centro Cultural Sao Paulo (Sao Paulo), "Vic Cambrils Barcelona..." at Midway Contemporary Art (Minneapolis), "Before Everything" at CA2M (Móstoles) and the 7th Leandre Cristòfol Biennial at Centre d?Art La Panera (Lleida). His projects have been awarded grants such as the ones given by Cajasol (Sevilla) and the Fundació Guasch Coranty (Barcelona), and prizes such as the Fundación José García Jiménez Prize (Murcia) and the Miquel Casablancas Prize (Barcelona). Jacoby is a member of the editorial team of Texto (http://contienetexto.net), a book and web project around artist texts. For 2012, he prepares a residence that will result in a solo exhibition at Casino Luxembourg?s Project Room (Luxembourg).

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish.

Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

The film hovers over the speculations of a monotonous future where beings have lived all possible lives. A climbing gym serves as the futuristic scenario for a succession of dialogues, abstractly connected by the recurrence of three after-animal-named characters: a Whale, a Tortoise and a Parrot. Their conversations go in and out a meta-film that confuses itself with the one we’re actually watching. Among other things, they speak about the desire to die or the impossibility to lie in a limitless timespan. The shooting script of this film was affected by a technical condition: the take length of a Bolex compact 16mm film camera, which is limited to 25 seconds. This forced the fragmentation of the desired long take into 25-second clips. As a solution, all these clips were concatenated by matching images. The so-called keyframes – which are mostly climbing holds on the walls – produce a pseudo-long shot divided by countless jump-cuts. Thus, the film has a stepped but unequivocal real-time pace.

Daniel Jacoby (Lima, 1985) graduated in fine arts from the University of Barcelona and furthered his studies at the Städelschule in Frankfurt, where he studied under Simon Starling and Peter Fischli. He uses film and video as a binding agent for the various media deployed in his works. Recent exhibitions include those taking place at The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Galerie Antoine Levi (solo, Paris), Maisterravalbuena Galería (solo, Madrid), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), Plataforma Revolver (Lisbon), SESC Videobrasil (Sao Paulo), 1646 (solo, The Hague), Trafó (Budapest), S1 Artspace (Sheffield), and the 11th Cuenca Biennial (Ecuador). Daniel has done residencies at Tenjinyama (Sapporo), Sasso (Ticino), Casino Luxembourg (Luxembourg), ARE (Enschede), and Tokyo Wonder Site (Tokyo). He has been the recipient of several prizes and grants in Spain, as well as awarded the Premi GAC to the best exhibition of the year 2011 in a gallery. He has released books with publishers such as Mousse Publishing (Milano), Save As… Publications (Barcelona) and Cru (Barcelona), and is co-editor of the platform for artists’ writings Texto.

Daniel Jacoby makes abstract narrations using videos, texts, publications, performances and various other formats. They draw together a variety of scientific curiosities, anecdotes and references that often intertwine, but always leave a portion of uncertainty. In these complex environments, elements interact under unknown logics where the lack of conclusions is somehow replaced with poetry. Collaborating with creators and professionals from other disciplines is a crucial part of his work.

After receiving an MA in Artistic Research and Production at the University of Barcelona, Daniel Jacoby (Lima, 1985) has complemented his experience with residencies in Japan (Tokyo Wonder Site) and in The Netherlands (ARE). Recent exhibitions include "Platypus Logic" (solo) at Galeria Toni Tàpies (Barcelona), "adenOrr" (solo) at Museu de l'Empordà (Figueres), the 11th Cuenca Biennial (Cuenca), "Julio #5" at Centro Cultural Sao Paulo (Sao Paulo), "Vic Cambrils Barcelona..." at Midway Contemporary Art (Minneapolis), "Before Everything" at CA2M (Móstoles) and the 7th Leandre Cristòfol Biennial at Centre d?Art La Panera (Lleida). His projects have been awarded grants such as the ones given by Cajasol (Sevilla) and the Fundació Guasch Coranty (Barcelona), and prizes such as the Fundación José García Jiménez Prize (Murcia) and the Miquel Casablancas Prize (Barcelona). Jacoby is a member of the editorial team of Texto (http://contienetexto.net), a book and web project around artist texts. For 2012, he prepares a residence that will result in a solo exhibition at Casino Luxembourg?s Project Room (Luxembourg).

Grand-père est resté silencieux pendant 90 ans. Grand-père Avraham Ezekiel est né en Irak et a immigré en Israël en 1929. Pendant les années 1930, Grand-père, important journaliste du "Palestine Bulletin", a une connexion entre les Arabes et les Juifs, entre l'Est et l'Ouest. C'est un homme avec une mission qui n'a pas été accomplie, un meneur qui n'a pas dirigé. Ce film vient comme une rédemption. Il procure à Grand-père, à l'âge de 92 ans, une raison de vivre et une nouvelle mission, et il révèle sa sagesse ancienne au monde entier.

Amram est né dans la ville du sud d'Arad, en Israël, en 1978. Il est diplômé du Département de Cinéma & Télévision au Sapir Academic College. Amram travaille dans le domaine de la photographie et du cinéma, et l'une de ses oeuvres principales est le catalogue pour l'exposition de Dorrit Jacoby, "Gate of Tears, Rain of Roses", qui a été présenté au Vatican en 2001. En plus d'avoir eu ses photographies publiées dans divers magazines de voyages et d'art, il a reçu un prix lors du "Dead Sea photo contest" (concours de photo) en octobre 2002.

Two camels and two men are trapped inside a fable, longing for, but distrusting knowledge. Who can fight for humanity among football playing fascists, partisan storms and phony nature? “Nothing but progress” freely adapts tales by German philosopher Günter Anders.

Frédéric Jaeger is a film critic and filmmaker based in Berlin. In his artistic work he looks for contradictions in the contemporary society, in order to have fun with them. He is the founder of the German-speaking film magazine critic.de and contributor to Berliner Zeitung and Spiegel Online. Nino Klingler is a freelance film critic and filmmaker living in Berlin, Germany. After having worked for the German Federal Foreign Office he now attends as an artist the graduate school of Universitat der Künste in Berlin.

Heydar est un jeune domestique Afghan qui habite à Tehran, Iran. Il s?occupe d?un vieil homme iranien qui vit seul. Heydar a décidé d?apprendre l?anglais à l?aide de cassettes audio pour pouvoir retourner en Afghanistan et travailler comme traducteur.

Babak Jalali est né à Gorgan, Iran en 1978. Après des études en Europe de l?est et un diplôme en Sciences Politique il integre la London Film School. Il s?interesse principalement au cinema documentaire et à la fiction. Heydar, yek Afghani dar Teheran est son film de fin d?études.

Through the showery urban and sleepy suburban landscapes of the American Pacific Northwest, Kersti Jan Werdal’s Lake Forest Park follows a group of adolescent friends in the wake of a mysterious shared loss. Specificities regarding the event are minimally disclosed in the beginning of the film, allowing seemingly mundane vignettes to dovetail while charged with the subtext of confusion and grief. Traversing the choppy waters on the Seattle ferry, in tender moments of care and conflict between young people, and among the troubled institutional spaces of home and school, Lake Forest Park meditates on the loss inherent in the transition of things. As long takes unfold through shifts in light or the subtle progression of off-screen sound, the film reflects T.S. Eliot’s  thought that the essence of change is gradual and often unremarkable - the greying of the sky before a shower - more of a whimper than a bang.

Kersti Jan Werdal is a filmmaker and photographer based in California. Her film work centers around collective memory, hidden truths within cultures that experience(d) erasure, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Werdal questions the Western way of seeking to understand different people and cultures through reduction or encouraging others to explain themselves, and considers this problematic. Her films focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. She is influenced by "cinéma vérité" style filmmaking and frequently shoots observationally. However, she subscribes to the notion that all filmmaking is inherently subjective, and therefore narrative. Her film-essays incorporate archival footage, still photography, text, and music. She frequently works in Washington State, where she was born and raised, incorporating landscapes and histories of the region. She holds a BA in Sociocultural Anthropology from Columbia University with honors, and an MFA in Film/Video from California Institute of the Arts.

Nicolas Roerich (1874-1947), un grand artiste russe et maître spirituel, qui a grandi à Izvara, un village maintenant ordinaire dans la région de Leningrad, près de St.Pétersbourg.

Alexei Jankowski est né en 1968 à Leningrad, Russie. Il obtint un diplôme en Histoire Ancienne en 1990, avant de débuter des études cinématographiques en 1991 à la Fémis (France). Il obtient son diplôme en Réalisation en 1995. Il retourne en Russie afin de poursuivre son travail avec Alexander Sokourov, qu´il avait débuté en tant qu´acteur (The Days of Eclipse, 1988) puis en tant qu´assistant cameraman (The Evening Sacrifice, 1988). Il travaille ensuite comme monteur et superviseur des effets spéciaux (Moloch - version vidéo, 1999, Dolce, 1999) et comme assistant-réálisateur et co-producteur (Elegy of a Voyage, 2001). Il coordonne de nombreuses rétrospectives des films d´Alexandre Sokourov, dont les rétrospectives complètes à Sao Paulo en 2002 et à Turin en 2003, en tant que directeur des ventes et co-monteur de la collection de films documentaires (comportant plus de 30 titres). Il a écrit et réalisé de nombreux documentaires et courts-métrages, dont "Laterna" (court-métrage de fiction, 1996), "Night, Spring" (Documentaire, 1997, Premier prix du documentaire lors de la compétition St.Anne, Moscou), The Kirkenes Ethics (documentaire, 1998), The Little Red Tram, (documentaire, 2001), Un Vent Léger, (A Slight Breeze) (documentaire, 2003, Prix Spécial au Festival du Cinéma et de Littérature, Gatchina, Russia). Ses oeuvres ont été projetées lors de nombreux festivals et ont été diffusées à la télévision russe.

La création d'Evaldas Jansas "To Be on Show" (?Būti i?statytam?) ne peut être catégorisée par genre ou ses caractéristiques. On peut y trouver des images documentaires d'un plan détaillé de la ville de Vilnius présenté à la société et des images de la vie des tous les jours d'habitants d'un asile psycho-neurologique mêlées à un documentaire "faussé" i.e les scènes sont jouées et les effets édités à l'ordinateur. L'histoire entière, fiction tragique et auto-ironique, est accompagnée par la narration d'un héros bégayant racontant comment il s'est retrouvé dans un asile de fous.

Born 1969 in Kaunas. Lives in Vilnius Education: 1988-1995 Vilnius Academy of Arts, Department of Painting Selected Solo Exhibitions: 2007 RetroPERspective, Picture gallery, Klaipeda, Lithuania 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonia, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Switzerland 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Switzerland 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius Selected Film/Video Festivals: 2007 Nets, International Short Film Festival, Vilnius 2005 Recontres Internationals Paris/Berlin, Screenings at city space, Paris 2005 Invideo 2005. Short film festival, Milan, Italy 2004 Recontres Internationals Paris/Berlin. The Grand Halle of la Villette, Paris 2004 19th Brest European Short Film Festival, Brest, France 2004 Short Film Festival in Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hamburg, Germany 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Selected Group Exhibitions: 2006 101.3 KM: competition and cooperation, Picture gallery, Kaunas, Lithuania 2006 CAC Vilnius stand, Vienna Fair the International Art Fair Focused on CEE, Vienna 2004 Image of Violence/Violence of Image, Biennal of Young Artits, Bucharest 2004 The Others Are Me, Gallery Bunkier Sztuki, Krokow, Poland 2004 RAM 6, CAC, Vilnius 2004 From the Centre to the Edge, Kilkenny, Ireland 2003 RestCycling Art Festival, Berlin 2003 Baltixplatation, Hunter College, New York 2003 Parallel Progressions 3: etc., CAC, Vilnius 2002 SEX (Social Exhibitionism), Railway Museum, Riga 2001 Self-esteem. Lithuanian Art ?01, CAC, Vilnius 2001 Walls for NATO, CAC, Vilnius 2001 Male, Gallery of Contemporary Art Celje, Celje, Slovenia 2001 Exotica, CAC, Vilnius 2000-2001 Human Project, Bac - Presence Balte, Baltic Art Centre, Visby; Ileana Tounta CAC, Athens; Metronome, Barcelona 2000 Innocent Life, CAC, Vilnius 2000 ArtGenda, Helsinki 2000 Part of The System, association for contemporary art, Graz, Austria 2000 Dialog 2: Articulation, OK Centre for Contemporary Art, Linz, Austria 1999 View Assistences, Bazel, Switzerland 1999 Auslander Korespondenten, Cargo Cult TV, Bazel, Switzerland 1999 Lithuanian Art 1989-1999: The Ten Years, CAC, Vilnius 1999 Apartment? 99, Vilnius 1998 Cool Places, CAC, Vilnius 1998 International Performance Festival, Gallery Rigth-Left, Vilnius 1998 After Painting, CAC, Vilnius 1998 Twilight, CAC, Vilnius 1998 The Different - The Same, Bergens Kunstforening, Bergen, Norway 1997 Dimension O, International Performance Festival, CAC, Vilnius 1997 Ground Control, Beaconsfield, London 1995 Mundane Language, Vilnius 1995 1995: Art in Lithuania, CAC, Vilnius Special: 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2000 Ode rutinai (Ode to Routine). Book by Evaldas Jansas (in Lithuanian). Publisher: Contemtorary Art Center, Vilnius, Lithuania. Grands: 1996,1998,2000 State Grand of Lithuanian Ministry of Culture for Young Artists; 1999 Soros Contemporary Art Center in Lithuania Grand, Nordic Institute for Contemporary Art Grand

Anthologie de la satisfaction Description C'est le troisième film de la série "Anthropologie" d'Elvaldas Jansas (les précédents étaient : "Anthropologie de la fausse documentation : violence", en 2004 ; et "Anthropologie de l'excès", en 2004). L'histoire racontée dans le film est basé sur une histoire très personnelle de l'homme (il pourrait s'agir d'une fiction ou pas), et sur sa réflexion sur la publicité de la société médiatique. Le travail vidéo est constitué de documentaires et d'images de synthèse qui encouragent une perception comique, ironique, à la manière d'une farce.

Evaldas Jansas est né à Kaunas en 1969 et vit à Vilnius De 1988 à 1995 il a fait ses études à l'académie des arts de Vilnius, département peinture. Il a fait des expositions personnelles, dont voici quelques exemples : 2004 Repudiated Realities, CAC, Vilnius 2004 In My Own Juice, Lithuanian Contemporary Art, part of exhibition, Art Museum of Estonie, Tallinn 2000 CAC, Vilnius 2000 Hommage to Routine, Cargo Cult TV, Basel, Suisse 1999 Please Tie a Knot into the Bag, Kunstlerhaus, Boswill, Suisse 1996 From Life?s Illustrations, Jutempus Gallery, Vilnius 1995 Jutempus Gallery, Vilnius 1993 Inclusions, Langas Gallery, Vilnius Sélection de festivals du film/festivals vidéo: 2005 Invideo 2005. Short film festival, Milan, Italie 2004 Recontres Internationals Paris/Berlin. La Grande Halle de la Villette, Paris 2004 19ème Festival Européen du Film Court de Brest, Brest, France 2004 Festival du Court de Nevers, France 2004 Nets, International Short Film Festival, Klaipėda, Vilnius 2004 Politically Incorrect Film Festival, Ljubljana 2004 20th International Short Film Festival, Hambourg, Allemagne 2003 Wide World Video Festival, Amsterdam 2002 Nets, International Short Film Festival, Klaipėda, Vilnius Il a également participé à des expositions colectives. En 2006 par exemple, il a paticipé à "Pulsar", Cinemateca Nacional, à Caracas au Vénézuéla ; "101.3 KM: competition and cooperation" à la Picture gallery, à Kaunas en Lithuanie et au "CAC Vilnius stand" à la Vienna Fair - the International Art Fair Focused on CEE à Vienne. En 2004, il a participé à "Image of Violence/Violence of Image" à la Biennale des jeunes artistes de Bucarest ; "The Others Are Me" à la Gallery Bunkier Sztuki, à Krokow en Pologne ; "RAM 6" au CAC à Vilnius ; "From the Centre to the Edge" à Kilkenny en Irlande. En 2003, il a participé au RestCycling Art Festival à Berlin ; "Baltixplatation" au Hunter College de New York et à "Parallel Progressions 3: etc." au CAC de Vilnius. En 2002, il fait "SEX (Social Exhibitionism)" au Railway Museum de Riga. En 2001, il fait "Self-esteem. Lithuanian Art ?01" au CAC de Vilnius ; "Walls for NATO" au CAC de Vilnius ; "Male" à la Gallery of Contemporary Art Celje, en Slovenie ; "Exotica" au CAC de Vilnius ; "Human Project, Bac - Presence Balte", au Baltic Art Centre de Visby; Ileana Tounta CAC, Athènes; Metronome, Barcelone. En 2000, il fait "Innocent Life" au CAC de Vilnius ; "ArtGenda" à Helsinki ; "Part of The System" pour : association for contemporary art à Graz en Autriche ; "Dialog 2: Articulation, OK" au Centre for Contemporary Art à Linz en Autriche. En 1999 il fait "View Assistences" à Bazel en Suisse ; "Auslander Korespondenten" pour Cargo Cult TV à Bazel en Suisse ; "Lithuanian Art 1989-1999: The Ten Years" au CAC de Vilnius ; "Apartment? 99" à Vilnius et "Cool Places" au CAC de Vilnius. En 1998 il participe au International Performance Festival, Gallery Rigth-Left à Vilnius ; "After Painting" au CAC de Vilnius ; "Twilight" au CAC de Vilnius et "The Different - The Same", Bergens Kunstforening à Bergen en Norvège. En 1997 il fait "Dimension O" poue le International Performance Festival au CAC à Vilnius et "Ground Control", Beaconsfield à Londres. Et enfin en 1995 il fait "Mundane Language" à Vilnius et "Art in Lithuania" au CAC également à Vilnius. Il a également écrit un livre en Lithuanien publié par le centre d'art contemporain de Vilnius en Lithuanie en 2000 : Ode rutinai (Ode to Routine). En 1996,1998 et 2000 il a obtenu la Bourse d'état du ministère de la culture pour les jeunes artistes ; et en 1999 il a obtenu la Bourse du centre d'art contemporain en Lithuanie ainsi que la Bourse de l'Institut nordique pour l'art contemporain Il a également des projets en préparation : 2005 Evaldas Jansas for CAC/TV. Contemporary Art Center/ TV 1 channel, Vilnius 2003 Lithuanian Iterdisciplinary Artists Association website: www.letmekoo.lt

Continuing family video series author documents family?s Easter?s celebration habits from the anthropologist?s positions. Drinking songs sung by drunken women, food decorations, expressiveness of celebrant?s faces form none the less critical contemporary family video with extreme soundtrack.

Evaldas JANSAS was born in 1969 in Kaunas, Lithuania. In 1988-1995 he studied at Vilnius Academy of Arts, in the Painting department.

This film is based on the expedition to Latvia between the 3rd and 6th of May, 2012. The researchers visited the former Soviet military centre in Irbene with the world?s eighth-largest radio telescope and the Libava fortress, the most expensive and ambitious project of the Czarist Russian army on the Baltic sea, taken over by the Third Reich and then the Soviets. Soundtrack of film is created from audible and hidden sounds, collected from abandoned places and bunkers in Latvia. The soundtrack comprise of field recordings, contact microphones and special circuit for receiving land signals.

Evaldas Jansas (b. 1969) lives and works in Vilnius. In the last decade of the 20 c. Evaldas Jansas became known as a performance and video artist. Transgressive art of Jansas is often autobiographical and conveys an authentic everyday life of the artist. His video works often expose abject reality. The everyday life documented in his works is ephemeral, fragmented, immediate, but it expresses certain ambivalence. The most recent works of Evaldas Jansas combine a grotesque, an absurd and the parody of social themes expressed through the nonlinear montage and narrative.

Time-lapse sequences shot at various public locations in Johannesburg blend into hybrid spaces. The locations include underwater shoots at public swimming pools over 24 hours, similar studies of the Bree Street taxi rank, as well as impressionistic studies of moments such as rain beating on a car windshield. These spaces interpenetrate and blend in the film, creating hybrid spaces: an underwater taxi rank with swimmers darting across the ceiling, legs of swimmers tangling in the branches of a Jacaranda tree during a summer storm, and giant ballroom dancers stepping through the taxi rank at the end of a commuting day. In this film we have explored the poetic possibilities of these hybrid, polyrhythmic spaces, moving into the realm of dream images rather than the sometimes harsh documentary studies from which the material is drawn. Still, dreaming about Johannesburg will always be to an extent disquieting. The interweaving of the rhythms of work and leisure time, as well as the underlying currents of class and race tensions within Johannesburg are absorbed by the camera, emerging as a questioning of the complex multiplicities of daily life experience in this often brutal city.

Mocke Jansen van Veuren was born in 1976 in Johannesburg, South Africa. He has worked in educational publishing and arts research in the non-governmental sector, as a professional animator and, since 2002, as a lecturer in Multimedia and digital filmmaking. In 2004, he started the on-going collaborative Minutes Project with Theresa Collins, documenting aspects of life in Johannesburg via time-lapse photography. Since 2006 van Veuren has collaborated with choreographer Nelisiwe Xaba in the creation of various performative works, focusing on sound composition and experimental video. He currently divides his time between the production of experimental films, the development of an analytical body of research, educational materials development, performative work, and lecturing at the UJ Multimedia Department and the Academy of Screen Arts (a new division of the Academy of Sound Engineering).
Theresa Collins lives and works in Johannesburg and graduated in 2002 with an MA Fine Art degree. The video and photography-based work she produces engages with elements drawn from her urban environment. She has worked in collaboration with Mocke Jansen van Veuren over the last 8 years and their preferred medium, time-lapse photography, lies somewhere between documentary film-making and animation. Their interest in time-lapse photography stems from studies in, and a passion for, the animation medium. Collins has recently worked as a researcher in the fields of education, heritage and history. She is currently working with the Market Photo Workshop as manager of curriculum and training.

Witte de With fut créé en 1990, c?est un centre consacré à l?art contemporain qui a pour mission d?introduire l?art contemporain et la théorie dans le contexte de la Cité de Rotterdam ainsi qu?aux Pays-Bas dans leur ensemble. Cette institution cherchait initialement à proposer une alternative à la fois aux musées classiques destinés à l?art moderne et aux initiatives existantes mises en places par les artistes. Au fil des années, Witte de With a évolué et désormais, il commande et produit de nouvelles ?uvres d?art. Tout ceci a abouti au développement d?un réseau local, national et international de personnes et d?organisations qui suivent et supportent activement les activités de l?institution. Dès le départ, beaucoup de ces activités ont été commentées ou accompagnées par des publications qui sont maintenant distribuées et lues à grande échelle. La mission de Witte de With est toujoursde représenter les nouvelles évolutions qui ont lieu en art contemporain, sans faire de concessions en ce qui concerne leur contenu, et en cherchant pourtant en même temps à toucher le public le plus large possible.

Renske Janssen est née à Gemert en 1975. Elle vit à Rotterdam et y travaille en tant que conservatrice, historienne de l?art et écrivain. Auparavant, elle a travaillé au musée Stedelijk d?Amsterdam en tant qu?assistante du conservateur. Depuis 2004, elle est la conservatrice de Witte de With, centre d?art contemporain de Rotterdam sous les ordres de Catherine David et, actuellement, de Nicolaus Schafhausen. Elle entre autres organisé plusieurs expositions collectives telles que ?Street: behind the cliché? en 2006 qui traitait du sujet complexe de l?espace publique et privé. A travers la concentration d?expositions personnelles et de publications, elle s?intéresse principalement à des positions artistiques spécifiques qui traitent de l?image et des notions autour de la représentation dans l?art et la culture populaire, tout d?abord avec Mathias Poldena en 2006 puis avec Tris Vonna-Michell en 2007. Avec un intérêt pour l?utilisation contemporaine du personnel et de l?émotif dans l?imagerie en mouvement, elle a élaboré un programme pour l?International Film Festival Rotterdam de 2007 composé d?une sélection de films d?artistes appelée Depiction, Perversion, Repulsion, Obsession, Subversion qui se concentrera sur l?utilisation (non) critique des outils cinématographiques que sont la bande son et le montage.

420 pochettes de disques 33 tours sont photographiées en demi-format sur film diapositive et projetées à raison de 24 images par seconde. Cela donne un film de 17,5 secondes.

Florian Japp, né à Zurich en 1971 Diplômé de l'Ecole des Beaux Arts de Hambourg. Documentariste et artiste à Berlin

"Trois séquences non-linéaires mais reliées entre elles qui mélangent fiction et non-fiction. Des mésaventures successives, telles que sa perte, le fait qu'il ait été écrasé par un camion ou bien encore qu'il ait été impliqué dans la panne de trois projecteurs dans différentes régions du monde, participent à l'histoire de ce film. Réalisé à l'origine pour la First International Exhibition of 3-image Films de l'Anthology Film Archives en 1995, il a été récemment réédité en vidéo pour une projection à l'Underground Film Festival de Chicago, "New Visions," qui a eu lieu en Août 2005."

"Tom Jarmusch est artiste et réalisateur, il vit à New York, réalise des films, des vidéos, des photographies, et utilise également d`autres médias. Son travail a été montré en Europe et aux États-Unis, entre autre, au New Museum of Contemporary Art, à l`Artists Space, à la Knitting Factory, au Tonic ; il a exposé dans des galeries à New York et Paris, et a participé à des festivals internationaux, à Dresde, Locarno, Rotterdam, Hampton, Ontario, à Clermont-Ferrand (Vidéoformes), à la BBC Londres et au New York Underground Festival. Tom Jarmusch a travaillé comme directeur artistique et régisseur général pour des réalisateurs, comme Robert Frank, Claire Denis, Aki Kaurismaki, Ang Lee, Michael Almereyda ainsi que pour son frère, Jim Jarmusch. Il est acteur dans " Johnny Suede " et " Living in oblivion " de Tom Dicillo, et dans " The Golden Boat " de Raoul Ruiz."

Vivre entre deux terres : celle d?origine et celle d?accueil. Appartenir à l?une comme à l?autre, s?attacher à une rive et à l?autre. Tiraillé entre les deux et placé au juste milieu, ni complètement pris par l?une ni parfaitement adopté par l?autre. C?est cette situation qu?explore l?installation « la terre du milieu » par le biais d?une traversée en bateau, de Tunis à Marseille. Ces 24 heures de voyage deviennent un véritable moment de détachement, physique et psychique, laissant apparaître les fissures du présent à travers lesquelles des images de l?avenir et du passé viennent à s?entremêler. Pauliina Salminen et Andrés Jaschek sont tous les deux marseillais d´adoption. Ils ont voulu dans cette installation, recréer les sensations intimes que les immigrés entretiennent avec leurs terres d´origine et d´accueil. Tout au long du voyage, certains passagers vont nous conduire dans leurs vécus et leurs impressions. Le parcours de ces passagers à travers les espaces du bateau entraîne aussi leur imaginaire à transiter dans leurs espaces de vie de Marseille et de Tunis.

Pauliina Salminen est née en 1975 en Finlande. Après ses études à l?Ecole d?art et de communication de Turku, elle s?installe à Marseille où elle obtient un DESS de cinéma. Puis, elle réalise des films documentaires (Les étoiles du vendredi soir en 2002, Miminor en 2003, Baignades en 2004) diffusés à la télévision et dans plusieurs festivals. Elle participe en tant que vidéaste à des créations pluridisciplinaires (Art Cup en 2002, Télé?euh en 2003). En 2004, elle crée l?installation vidéo interactive Just add water qui est exposée à Marseille, Montpellier, Helsinki et avec laquelle elle participe à la Biennale des jeunes créateurs d?Europe et de la Méditerranée à Naples en 2005.
Andrés Jaschek est né en 1977 en Argentine. Il est diplômé de l?Ecole des Beaux-Arts de La Plata. Parti poursuivre ses études artistiques en France, il obtient en 2001 une maîtrise de cinéma à l?Université de Provence. A l?issue de ses études, il alterne installations vidéo (Pornographie sentimentale en 2002) et films documentaires (Reconstructing Saint-Charles en 2003, Nudités en 2004). Il participe à des programmes européens de documentaire de création : Journeyman en 2002 et Réel en chantier en 2003-2004, où il développe plusieurs projets. Ses films ont été diffusés dans des festivals spécialisés en France, en Argentine, en Italie et en Espagne.