Catalogue > Liste par artiste

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

Performance with a group demonstration of an iPhone application. Volunteers followed instructions from their individual phones, creating performance art through a combination of dance and exercise movements dictated by the app.

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La performance de Jonason révèle son état intérieur réel ainsi que celui du photographe, simultanément. Aucun d'eux ne le croit.

Michael Johansson (né en 1975) vit et travaille à Malmö en Suède. Son travail s?étend sur des médias variés : la photographie, les installations et la vidéo. "That?s low" a été fait en collaboration avec le réalisateur et artiste Johan Jonasson. Jonasson (né en 1970) travaille et vit à Stockholm, en Suède, et il se partage entre le film et l?art, ayant exposé son travail aussi bien dans des expositions que des festivals de film. "That?s low" a été tourné sur un toit, à Stockholm, avec en haut de l?affiche, un Jonason qui ne s?est jamais débrouillé pour avoir notre sympathie, ni la sienne. Johnasson et Jonason ont travaillé ensemble pendant dix ans en deçà de leurs travaux personnels. Les autres projets sur lesquels ils ont collaborés sont ?Le Kurde? et ?Never Leave Me?.

“The light and shade of the ornaments – a rehearsal” is a micro biography of the glass workers from the Sudetenland that were given employment in the glass industry, Sweden, after the 2WW. Two actors are taking turns facing each other reading an extensive amount of text, and two hands are leafing through photos. The 1st chapter tells the story of the voyage and dislocation of the Sudeten Germans from Czechoslovakia to Sweden. The narrative elucidates how, and why, this workforce was brought over, and the effect of the migration on both a personal and industrial level, including how the labour movement organized the new arrivals. The 2nd chapter is turned towards the local context, how Swedish glassworks were inspired by the traditions of the Sudeten Germans, in Bohemia. We are told about what happened to one of the world’s last kingdoms of crystal, Bohemia, during and after the Nazi occupation and under Communism. How centuries of migrations from central Europe has influenced the Swedish glass industry, a vital element for understanding how the Sudeten Germans were regarded as craftsmen. The narrative highlights how the destinies of the glass workers were shaped by war and different political systems.

Ingela Johansson, is an artist that lives and works in Stockholm. Johansson’s research-based artistic practice often responds to site-specific issues with an interest in social history and collective memory. Her interdisciplinary approach combines various aesthetic strategies and media to create an engaging body of work. She was part of the Kirunatopia project presented at Bildmuseet, Umeå (2012) and Kunsthaus Dresden (2014). Her book project The art of the strike, voices on cultural and political work during and after the mining strike in the north of Sweden in 1969–70 (Glänta, 2013). Her most recent exhibitions and projects include; Damage and Loss, Alternativa Gdansk, 2016, Moving mass, Kalmar Konstmuseum, 2015–16 and Die Ästhetik des Widerstands, Galerie im Turm, Berlin, 2014. She is the Reserch in Residence at BAC Baltic Art Center, Visby.

L'installation vidéo "Modern Escape" interroge la relation entre position individuelle et contexte politique global. Nous avons à cœur d'examiner nos comportements sociaux ainsi que notre relation subjective avec les questions historiques générales et les différentes cultures auxquelles nous appartenons. Le temps a brouillé la réalité, l'art, la vie et la passion pour en faire un creuset où notre point de vue a changé. Le regard automatisé de la caméra prend le dessus sur le regard empathique du photographe, et part du sol pour terminer avec quelque chose qui rappelle le regard d’un drone. Le monde est en migration, les murs s'élèvent à la même vitesse que les camps de réfugiés et, maintenant, les infections se propagent. La galerie d'art se transforme en salon, où une télévision fait entrer la réalité en montrant des extraits de journaux télévisés. Dans le même temps, des publicités télévisées présentent des équipements de surveillance et des dispositifs antivol pour empêcher le monde d'entrer: le salon se transforme en un château bien gardé. Cependant, la réalité insiste pour pénétrer.

Hanne Nielsen et Birgit Johnsen sont toutes deux titulaires d'un MFA de la Jutland Art Academy, Aarhus (Danemark). Elles réalisent et exposent ensemble des vidéos, documentaires et installations depuis 1993. Parmi leurs dernières expositions personnelles, on peut citer "At The Fence" au Viborg Kunsthal, Viborg (Danemark) [2019]; "Protect/ Release" au Röda Sten Konsthall, Goteborg (Suède) [2017]; "REVISIT", une exposition monographique au Ovengaden – Institute of contemporary art, Copenhague (Danemark) [2018-2019], ainsi que "INCLUSION / EXLUSION" au ARoS Aarhus Kunstmuseum, Aarhus (Danemark) [2017]. Elles ont reçu le prix Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award [2016]; la médaille Eckersberg de la Royal Academy of Fine Arts, Copenhague (Danemark) [2017]; et la plus récente bourse d'artiste de la New Carlsberg Foundation [2020].

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

L'installation vidéo "Modern Escape" interroge la relation entre position individuelle et contexte politique global. Nous avons à cœur d'examiner nos comportements sociaux ainsi que notre relation subjective avec les questions historiques générales et les différentes cultures auxquelles nous appartenons. Le temps a brouillé la réalité, l'art, la vie et la passion pour en faire un creuset où notre point de vue a changé. Le regard automatisé de la caméra prend le dessus sur le regard empathique du photographe, et part du sol pour terminer avec quelque chose qui rappelle le regard d’un drone. Le monde est en migration, les murs s'élèvent à la même vitesse que les camps de réfugiés et, maintenant, les infections se propagent. La galerie d'art se transforme en salon, où une télévision fait entrer la réalité en montrant des extraits de journaux télévisés. Dans le même temps, des publicités télévisées présentent des équipements de surveillance et des dispositifs antivol pour empêcher le monde d'entrer: le salon se transforme en un château bien gardé. Cependant, la réalité insiste pour pénétrer.

Hanne Nielsen et Birgit Johnsen sont toutes deux titulaires d'un MFA de la Jutland Art Academy, Aarhus (Danemark). Elles réalisent et exposent ensemble des vidéos, documentaires et installations depuis 1993. Parmi leurs dernières expositions personnelles, on peut citer "At The Fence" au Viborg Kunsthal, Viborg (Danemark) [2019]; "Protect/ Release" au Röda Sten Konsthall, Goteborg (Suède) [2017]; "REVISIT", une exposition monographique au Ovengaden – Institute of contemporary art, Copenhague (Danemark) [2018-2019], ainsi que "INCLUSION / EXLUSION" au ARoS Aarhus Kunstmuseum, Aarhus (Danemark) [2017]. Elles ont reçu le prix Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award [2016]; la médaille Eckersberg de la Royal Academy of Fine Arts, Copenhague (Danemark) [2017]; et la plus récente bourse d'artiste de la New Carlsberg Foundation [2020].

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

Loosely framed by interviews with the filmmaker’s parents, Low Season is an experimental documentary portrait of lives shaped global forces. Meditations on war, melding cultures and life lessons ebb and flow across time, continents and landscapes.

Jonathan Johnson is an artist and experimental filmmaker whose work explores ideas about place, identity and nature. Autobiography plays a role in Johnson’s work as he often references his personal background of mixed-race and transnational histories and experiences. Johnson’s work has been shown at film festivals and galleries in over 30 countries including: Museo Nacional Centro de Arte Reina Sofia, Madrid; Modern Art Museum, Sao Paulo, Brazil; Wexner Center for the Arts, Columbus, Ohio; Galleria Sment, Braga, Portugal; Africa Centre, Cape Town, South Africa; Sofia Arsenal Museum of Contemporary Art, Sofia, Bulgaria; Haverhill Experimental Film Festival; Benaki Museum, Athens, Greece; Union Docs, Brooklyn; Winnipeg Underground Film Festival and the EXiS Film Festival, Seoul, South Korea.

A former mining town in remote northwest British Columbia, Anyox is now marked by mountainous slag piles accumulated as a byproduct of the early 20th century copper smelting process. ANYOX tracks the daily work of the town’s two sole residents, who organize and salvage value out of this seemingly endless mass of industrial waste. Concurrently, the film unfolds a complex labour history and reveals the vestiges of immense environmental degradation produced by the company town model. ANYOX explores a history of labour press dissemination, activism and the severe reaction from industry and government. Interlacing past and present, ANYOX combines large format cinematography of the contemporary landscape with a study of the archival record, considering the aesthetics it carries, as well as how it reveals and obscures narratives.

Jessica Johnson and Ryan Ermacora are award-winning filmmakers based in Vancouver, BC. Their work investigates the visible and invisible ways in which humans have engraved themselves into the biosphere. Formally, their work is defined by a structural approach to filmmaking, engaging with the optics of cinema while illustrating the experience of labour in dialogue with landscape. Their work has screened at festivals and cinemas including Cinéma du réel, The Walker Art Center, Festival du Nouveau Cinéma, Open City Documentary Festival, DOXA, and VIFF.

In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.

Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).

The camera tracks through an endless system of institutional corridors. Progress is illusory - the present is continuous. Other personalities move in the corridors engaged on unspecified errands.We look to them for some sense of kinship or common purpose but any affinity we find only reinforces our alienation.

The root of the Irish artist Patrick Jolley?s films and photographs lies in the subjective experience of the passage of time. He expands on sensations of inertia, solidification or dislocation through physical displacements and rearrangements. The familiar is thus subverted and rendered uncanny. In one work furniture falls from the sky and shatters in an empty carpark, in another the occupants of a house go through domestic life in an atmosphere thickened into liquid, while in another the fireplace vomits copiously. The results are redolent with melancholia yet infused with the kind of resigned humour that surfaces when everything is lost. His work has shown widely in galleries and film festivals. It is in the collections of the Museum of Modern Art, New York, the Irish Museum of Modern Art and the Lyons Museum of Contemporary Art.. He currently lives in Slane, Co. Meath. Ireland.

L'ennui engendre sa propre rêverie. Ici devient là-bas, qui pourrait être n?importe où. Cela forme une coïncidence avec le générique : les répétitions érodent le sens des lieus et rendent les bâtiments apparemment moins solides. La logique de ces déplacements fait que les choses partent à la dérive. Des petites maisons s?effondrent et brûlent. Le mobilier se fracasse dans un parking vide. Histoire de petites destructions, pathétiques et momentanément cathartiques.

Paddy Jolley a commencé à faire des films après avoir accidentellement largué un mannequin de figure humaine grandeur nature du haut du pont de la 59e avenue de New York. La forme de la chute fut si triste et dramatique qu'elle a forcé l?auteur à remettre en question sa vieille croyance selon laquelle il pouvait dire tout ce qu'il voulait dans le cadre d'une photo. Peu de temps après, il a commencé à collaborer avec le cinéaste américain Reynold Reynolds. En employant les images et les méthodes des photographies de Jolley, ils ont réalisé ensemble « Seven Days ?til Sunday » (1998), « Drowning Room » (2000) et « Burn » (2001), autant de films caractérisés par un humour noir et une beauté triste. Ces ?uvres ont été exposées dans des galeries et des musées, sous forme de films en boucle ou d?installations, et projetées de nombreuses fois lors de festivals de cinéma où elles ont remporté plusieurs prix. Leur collaboration a pris fin avec l'achèvement du long-métrage Suger en 2004.

Sounds of slow traffic on a rainy street. A man in a cheap suit lies on the bed in a quiet apartment. Snakes entwine him, crawling slowly in and out of his clothes,

The work of the Irish artist Patrick (or Paddy) Jolley spans photography, video installation and cinema.. Its starting points lie in those moments where time seems to move abnormally or an atmosphere becomes unnaturally dense or thin. These anxious impressions are then interwoven with a range of images of dense metaphoric resonance.. Symbols with many layers of association that can appear deeply significant or equally empty of meaning. The tone is dark and redolent with melancholia but retains a possibility of the absurd or slapstick comedy. His work shows frequently in galleries and cinemas around the world and is in the collections of several major museums.

Keijupuisto est un documentaire qui traite d'un lieu en Finlande à Lahti pour les sans-abris et de ses habitants, personnes qui certes ont du temps mais bien peu d'autres choses. Les hommes et femmes habitant à Keijupuisto attendent de pouvoir emménager dans leur propre maison. Certains attendent depuis des années. Pendant les périodes difficiles ils ne se tournent pas vers les autorités locales pour demander de l'aide mais vers Dieu. L'Etat providence est peu préoccupé par ces lieux de fortune pour les sans-abris. L'auteur souhaitait donner une voix à ces personnes qu'elle dit invisibles dans la société contemporaine.

Miia Jonkka est née en 1977. Elle étudie le montage de films à l'université d'art et de design d' Helsinki(UIAH, Department of Motion Picture, Television and Production Design)en 2001. Son film a été projeté au Docpoint-Documentary Film Festival 2006 à Helsinki et a été selectionné en compétition au Tampere International Short Film Festival en mars 2006.

YELLOW WOLFMAN / KOLLANE HUNTMEES "le Yellow Wolfman (l'Homme-loup jaune) conquit -il y a longtemps-le territoire de Paide- l'endroit derrière l'espace piétonnier. L'année dernière les gens d'ici se sont fait du souci à cause de lui, il a beaucoup occupé leurs esprits avec sa façon de marquer son territoire comme un animal. Cette-fois il a rassemblé mais aussi irrité la foule, prête à donner à ce faiseur d' histoires, une part de leur opinion. Mais la déception fut grande. Sur le lieu un écriteau était dressé annonçant à qui le territoire appartenait et au lieu du Wolfman (l'Homme-loup) apparaissait alors un assistant qui répétait à voix-haute le message que le Wolfman lui-même lui transmittait par téléphone-portable. Qu'aurait-on pu ajouter à cette performance annuelle? Il semble que le sujet traite de besoins de territoire, pour continuer, un développement avec un train plus abondant en solutions et en idées".

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

Un film révolutionnaire en trois parties.

Nick Jordan est un artiste basé à Manchester. C'est un personnage à plusieurs facettes, maniant la vidéo, le dessin, l?évènementiel et la publication. Son travail comprend un panel éclectique de motifs culturels et personnels, tirés du cinéma, de l?histoire de l?art, de la littérature, des bandes dessinées, des arts graphiques, entre autres sources. Le travail vise à animer les difficultés et les procédures incluses dans la production d?images et la manière dont les éléments découverts peuvent, assemblés, faire que "quelque chose se passe ?. Ses vidéos capturent des moments bien singuliers d?observations quotidiennes. Elles sont souvent combinées, par le montage, avec d?autres références afin de former un scénario particulier ou un épisode de fiction.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

Un film révolutionnaire en trois parties.

Nick Jordan est un artiste basé à Manchester. C'est un personnage à plusieurs facettes, maniant la vidéo, le dessin, l?évènementiel et la publication. Son travail comprend un panel éclectique de motifs culturels et personnels, tirés du cinéma, de l?histoire de l?art, de la littérature, des bandes dessinées, des arts graphiques, entre autres sources. Le travail vise à animer les difficultés et les procédures incluses dans la production d?images et la manière dont les éléments découverts peuvent, assemblés, faire que "quelque chose se passe ?. Ses vidéos capturent des moments bien singuliers d?observations quotidiennes. Elles sont souvent combinées, par le montage, avec d?autres références afin de former un scénario particulier ou un épisode de fiction.

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.

Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

A short film which centres upon the proliferation of bird houses, erected to attract the Purple Martin - `America`s Most Wanted Bird`. The extraordinary abundance of man-made habitats reflects a desire to live in close proximity to nature, in a suburban, small town setting. Over one million North Americans have installed Purple Martin bird houses. The migratory birds, which are believed to consume large quantities of insects, are now entirely dependent upon man-made housing during their breeding season.

Nick Jordan is an artist whose practice encompasses painting, video, drawing, found-objects and publications. Jordan`s work centres upon the relationship between the natural world and our multifaceted cultural histories. Nick Jordan frequently collaborates with fellow artist Jacob Cartwright, and is based in Manchester, UK

American Water is a short documentary which focuses on two characters, Glenda and ?Redbeard?, who live and work alongside the Ohio and Mississippi rivers, in southern Illinois. Glenda runs her father?s business, ?Fred?s Fish Market?, from a small wooden shack next to the levees protecting the town of Cairo. ?Redbeard? ekes out a living in the backwoods of Thebes, on the banks of the Mississippi. Both Glenda and Redbeard talk with disarming candour and shrewd folk-wisdom about the traditional culture, declining economy and fragile ecology of this ?heartland? region bordering the American South. Demonstrating how to gut a catfish and spit-train a dog, American Water is a portrait of two spirited individuals existing on the margins of society, where two mighty rivers meet, in a forgotten corner of the United States.

Jacob Cartwright & Nick Jordan are artists and film-makers based in Manchester, UK. Their collaborative work explores the relationship between the natural world and our multifaceted cultural histories. They recently completed a trilogy of films centred on the writings of the 19th century artist-naturalist John James Audubon (DVD published & distributed by Cornerhouse). Their documentary The Reapers was awarded best experimental film at the 2009 London Short Film Festival, and in 2010 the festival held a retrospective screening of their work. Cartwright & Jordan?s recent film festivals and group exhibitions include Documenta, Madrid; Practical Truths, Castlefield Gallery, Manchester; Darwin`s Eye, Institut National d`Histoire de l`Art (INHA), Paris; Lines of Desire, Oriel Davies Gallery, Newtown; Art, Science & the Origin of Species, Ohio State University, Columbus, USA; The New York Film Festival; 3rd Beijing Independent Film Festival, Songzhuang, China; Voices From The Water, Bangalore, India. They are currently making their debut feature-length film, Between Two Rivers, a documentary portrait on the troubled town of Cairo, Illinois. www.betweentworivers.net.

Un film révolutionnaire en trois parties.

Nick Jordan est un artiste basé à Manchester. C'est un personnage à plusieurs facettes, maniant la vidéo, le dessin, l?évènementiel et la publication. Son travail comprend un panel éclectique de motifs culturels et personnels, tirés du cinéma, de l?histoire de l?art, de la littérature, des bandes dessinées, des arts graphiques, entre autres sources. Le travail vise à animer les difficultés et les procédures incluses dans la production d?images et la manière dont les éléments découverts peuvent, assemblés, faire que "quelque chose se passe ?. Ses vidéos capturent des moments bien singuliers d?observations quotidiennes. Elles sont souvent combinées, par le montage, avec d?autres références afin de former un scénario particulier ou un épisode de fiction.

Nights and Days raconte l?expérience de la guerre d?un point de vue personnel, à partir de notes écrites et filmées durant l?été 2006. La première partie qui ressemble à un journal de guerre sans en être un, alterne des plans de jour avec des plans de nuit, qui sont construit avec la bande sonore, pour exprimer l?idée du passage du temps, l?attente, les peurs et les transformations vécues dans ces circonstances inhabituelles. La deuxième partie est un voyage au Sud-Liban qui a été dévasté durant cette guerre. De beaux paysages sereins s?alternent avec des ruines et des destructions, avec pour seul son, une musique. Ici aucun mot ne peut exprimer la dévastation. Nights and Days réfléchit à la relation entre image et son et aussi à « l?horreur » qui peut se trouver derrière la ?beauté?. Dans ces beaux paysages urbain et naturels, seuls quelques détails révèlent la présence et la violence de la guerre.

Née en 1972 à Beyrouth au Liban, Lamia Joreige étudie le cinéma et la peinture à Rhode Island School of Design, USA, où elle obtient un Bachelor of Fine Art en 1995. Parmi ses réalisations: Je d?histoires, installation vidéo interactive 2006 - Un voyage, documentaire vidéo 2006 - Objets de guerre 1, 2, 3, 4, installation vidéo et objets 1999-2006 - L?autre et le temps, exposition et livre 2004 - Ici et peut-être ailleurs, documentaire 2003 - Ici et peut-être ailleurs, nouvelle, fiction 2003 - Sans-titre 1997-2003, installation vidéo - Replay (bis), fiction 2002 - Replay, installation vidéo 2000 - Le déplacement, installation d?images vidéo-fixes 1998-2000. Elle présente son travail dans de nombreux festivals et lieux parmi lesquels : The Images Festival, Toronto - Les universités Harvard et Columbia, USA - Les Rencontres Internationales Paris / Berlin - La Cinémathèque de Paris - The Rotterdam International Film Festival - Le Festival de Cinéma méditerranéen, Montpellier. La fondation Caixa, Barcelone. Et diverse expositions dont les plus récentes sont: Rumor as Media, Akbank Sanat, Istanbul - Coding Decoding, Musée d?art contemporain, Roskilde, Danemark - Out of Beirut, Modern Art Oxford, Royaume Uni - INSA art space, Séoul - Present / Absence, galerie Tanit, Munich - Laughter (in LIFT), Londres - Possible Narratives (in VideoBrasil), Sao Paulo - DisOrientation, Maison des Cultures du Monde, Berlin Elle a réalisé des expositions personnelles à: ACAF & Townhouse gallery, Egypte, 2004 - Musée Nicéphore Niepce, France, 2003 - Galerie Nikki Marquardt, Paris, 2000 - Galerie Janine Rubeiz, Beyrouth, de 1999 à 2004. Son travail est présenté à la deuxième biennale de Séville, en 2006, et à la Biennale de Venise, dans le Pavillon libanais en 2007. Elle participe à plusieurs publications artistiques: Art forum, USA Octobre 2006 - Out of Beirut, M.A.O. (Royaume Uni) 2006 - Livraison n°4 (Rhinocéros, France) - Camera Austria n° 78 / 2002 - Homeworks II, 2005, Missing Links, 2001 et Hamra Street Project, 2000 (Ashkal Alwan) - Lamia Joreige (galerie Janine Rubeiz, Beyrouth),1999 - Surfaces, Lamia Joreige, Centre Culturel Français, Beyrouth, 1997)

Durant la guerre civile du Liban, des centaines de personnes ont disparu. Dans la plupart des cas, leur corps n'a pas été retrouvé et les circonstances de leur disparition n'ont pas été élucidées. Aujourd'hui je parcours Beyrouth, posant aux habitants que je rencontre la même question : "Connaissez-vous quelqu?un qui a été enlevé ici, durant la guerre ?" Mes investigations me conduisent dans de nombreux quartiers autour de la "ligne verte", qui séparait Beyrouth Est et Ouest, et où les milices avaient établi leurs barrages, scènes de beaucoup d'enlèvements et de crimes. J?essaye ainsi d?enclencher le processus de mémoire et de mettre en évidence la multiplicité des discours présents sur la guerre et l?ampleur de ce drame. Aussi, à travers mon parcours, je dessine une cartographie personnelle de cette ville.

Née en 1927 à Beyrouth, Liban, Lamia Joreige a étudié les arts graphiques à Paris avant d'aller aux Etats-Unis et étudier le cinéma et la peinture à l'Ecole de Design de Rhode Island, dont elle a obtenu un BFA en 1995. Parmi ses ?uvres : - Time and the other: livre publié par Alarm Editions - Untitled 1997-2003: installation vidéo - Objects of war, n°2 : Installation, vidéo et objets 2003 - Here and perhaps elsewhere: documentaire, 2003 - Ici et peut-être ailleurs : courte fiction publiée par H.K.W. Berlin, 2003. - The Bater dance Project : vidéos pour une performance en danse contemporaine, 2002 - Replay (bis): vidéo, fiction, 2002; Replay: installation vidéo, 2000; Objects of war: installation, vidéo et objets, 2000 - The displacement: installation vidéo, 1998-2000. Elle a présenté ses vidéos dans divers festivals de films et des musées, parmi lesquels: les Rencontres Internationales Paris/Berlin - La Cinémathèque, Paris - le festival international du film de Rotterdam - le Festival des Images, Toronto - le Festival méditerranéen du cinéma, Montpellier - la Caixa foundation, Barcelona - Centre pour l?image contemporaine, Genève. Et diverses expositions, parmi les plus récentes en 2003 et 2004: Time and the other, à la Townhouse gallery du au Caire et à la Janine Rubeiz gallery de Beyrouth - Present/absence à la Tanit galerie, Munich - Laughter, (in LIFT) - Ici et peut-être ailleurs, au Musée Nicéphore Niépce, France - Possible narratives, (in VideoBrasil), Sao Paulo ? DisOrientation, au H.K.W., Berlin - Faiseurs d?histoires , à la gallerie du Théâtre National de Bretagne, France. Son ?uvre a fait l'objet de diverses publications : Livraison (publié par Rhinocéros, France) - Deslocamentos (publié par associaçào cultural videobrasil) - Disorientations (publié par H.K.W., Berlin) - Camera Austria n° 78 / 2002 - Missing Links, 2001 et Hamra street Project, 2000 (publié par Ashkal Alwan) - Lamia Joreige (exposition individuelle à la galerie Janine Rubeiz, Beyrouth),1999 - Surfaces (exposition individuelle à F.C.C., Beyrouth), 1997.

"Beyrouth, en 2011. La ville est plongée dans une étrange accalmie alors que la région autour s’embrase. A travers cinq personnages, principalement des acteurs non-professionnels, Lamia Joreige réalise un portrait unique de sa ville natale. Qu’il soit attaché commercial, musicien, étudiant, acteur, chacun livre son attachement profond à Beyrouth et sa difficulté ou impossibilité d’y vivre. Pendant plusieurs mois, la cinéaste leur a demandé de jouer des scènes qu’elle a imaginé en s’inspirant de leur vie amoureuse, professionnelle ou amicale. Elle a fictionnalisé leur quotidien, faisant ainsi ressortir leur malaise. Ces scènes ont été jouées dans les quartiers où ils habitent, dans les lieux qui leurs sont chers. La ville et leurs sentiments sont intimement imbriqués. Sous la beauté des images, sous l’apparente douceur de leur vie se profile l’angoisse de l’instabilité politique au Proche-Orient et la peur d’une guerre dévastatrice."

"Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She uses archival documents and fictitious elements to reflect on the relation between individual stories and collective history. She explores the possibilities of representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of her imagery. Her work is essentially on time, the recordings of its trace and its effects on us."

Juillet 2006. Une guerre éclate au Liban. Une nouvelle guerre mais pas une de plus, une guerre qui vient briser les espoirs de paix et l?élan de notre génération de trentenaires. Nous ne savons plus quoi écrire, quelles histoires raconter, quelles images montrer. Nous nous demandons : « Que peut le cinéma ? » . Cette question, nous décidons de la poser vraiment avec l?aide d?une « icône », une comédienne qui représente pour nous le cinéma, Catherine Deneuve. Elle va rencontrer à Beyrouth notre acteur fétiche, RabihMroué. Ensemble, ils parcourent les régions touchées par le conflit. à travers leurs présences, leur rencontre, nous espérons retrouver une beauté que nos yeux ne parviennent plus à voir. Une aventure imprévisible, inattendue commence alors?

Nés à Beyrouth, ils travaillent conjointement en tant que plasticiens et cinéastes. Ils ont réalisé des courts-métrages, Ramad (Cendres) en 2003 etOpen the door, please ( du filmcollectif Enfances) en 2007 et des longs-métrages de fiction Al Bayt el zaher (Autour de lamaison rose) en 1999 et A Perfect Day en 2006. Ils ont également réalisé des documentaires tels que Khiam en 2000 ou El film el maoud (Le Film perdu) en 2003 et Khiam 2000-2007 en 2008. Leurs films ont été présentés dans un très grand nombre de festivals où ils ont reçu de nombreux prix et ont été accueillis avec enthousiasme tant par la critique que par les spectateurs. Leur travail cinématographique s?accompagne d?une recherche dans les arts plastiques. Ils ont ainsi créé plusieurs installations photo ou vidéo et exposent régulièrement dans des centres d?art, des musées ou des galeries. Leur prochaine exposition individuelle aura lieu le 11 décembre 2008 auMusée d?art moderne de la ville de Paris. Ils enseignent à l?université au Liban et participent à de nombreuses publications.

La niña de sus ojos (2022) appropriates fragments of the Bolivian folk novel of the same name (Antonio Díaz Villamil, La Paz 1948), that formed an important part of the discourse popular amongst the Bolivian intellectual elites of the period directly preceding the 1952 revolution. The novel, still in use in national pedagogy today, reflects the misogynistic and racist lens that was, and still is, used to impart seemingly democratic projects in Bolivia. Using the house - and home - as a narrative device, along with descriptions of the novel's main characters and the contemporary city of El Alto, this work seeks to locate the viewer between the unrealistic stereotypes described in the book and the true context of El Alto, highlighting the void that still exists today, over half a century later, between political discourse and enacted change.

Claudia Joskowicz is an artist who works primarily with film, video, installation and digital media. Her practice centers on history and its narrative, considering how popular media circulates and shapes collective memory, contemporary history and social realities. Using long and slow video footage and oscillating between film and photography, she reproduces moments captured from global collective memories and personal stories (her own and others’) that have a historical dimension and are anchored in her native Latin American landscape. For most of her career, she has focused on the Latin American landscape, producing work in her home country of Bolivia and South America at large. Her early video work was staged as minimalist reenactments - with attention to the figure and the landscape and focusing on gesture and subtle movement - and has moved towards re-imagined cinematic stagings of landscapes, urban and otherwise, where nuanced political drama unfolds in real time. The landscape and built environment are main characters throughout her work, as are her medium’s structural elements, drawing attention to the media’s role in constructing historical events, and our memories of them. Joskowicz has exhibited widely in the United States and internationally and her work is in the permanent collections of the Guggenheim Museum, NY; the Kadist Foundation, San Francisco, the Cisneros Fontanals Foundation, Miami, and the Banco Central de la República, Bogotá. Joskowicz has received numerous awards and grants including a NYFA Fellowship in film/video, an Anonymous Was a Woman Award, a Cisneros Fontanals Foundation Mid-Career Artist’s Commission, a Guggenheim fellowship in film/video, and a Fulbright Scholar award. She has been a fellow at Yaddo, the Latin American Roaming Art Project, Oaxaca, Mexico, the Sacatar Institute, Bahia, Brazil, the AIM program at the Bronx Museum of the Arts, NY and the LMCC’s Workspace and Paris residencies.

Los rastreadores is a two channel video installation set in Bolivia and very loosely inspired by John Ford's American Western classic film The Searchers. It does not attempt to recreate the film but adapts its major themes where the similarities lie in the use of landscape and depictions of themes like race and alienation. The main character in Los Rastreadores, Ernesto Suarez, is a drug lord who, recently released from a Miami prison, returns to his home in Santa Cruz only to immediately depart in a search towards the oposite side of the county for his family's only surviving members after a home invasion and massacre. Ernesto's character is modeled after Roberto Suarez Gomez, a Bolivian drug trafficker nicknamed "king of cocaine" and the most powerful drug lord in Bolivian history. Los Rastreadores merges and distills issues of race, belonging, class systems, and alienation into a minimal narrative that con - denses the massacre of Ernesto's family, the kidnapping of his daughter, and his departure to search for her. Using silences and voice-overs rather than traditional dialogue it centers on the power of myth where literal events operate as a displacement for the political discourse in the country.

Claudia Joskowicz (MFA New York University, 2000) has had solo exhibitions at LMAK Projects, Forever & Today, Inc., Thierry Goldberg Projects, and Momenta Art in New York, Dot Fiftyone in Miami, California Museum of Photography in California, Galeria ACBEU in Salvador, Espacio Simón Patiño and Museo Nacional de Arte, Centro Cultural Santa Cruz and Galería Kiosko in Bolivia, and Lawndale Art Center in Houston. Recent group exhibitions at the Guggenheim Museum, NY; Fondation Cartier pour l`art contemporain, Paris; Museum of Contemporary Art, Denmark; Tenth Sharjah Biennial; the 29th São Paulo Biennial; the Tenth Habana Biennial; Slought Foundation, Philadelphia and the 17th and 18th Videobrasil Festivals in São Paulo. She has received a Guggenheim fellowship, a mid-career artist commission from the Cisneros Fontanals Art Foundation, a Fulbright Scholar award, and a fellowship from the Vermont Studio Center. Recidencies include Sacatar Institute in Brazil, Lower Manhattan Cultural Council Workspace, and the Bronx Museum of the Arts AIM program. Joskowicz is currently the artist in residence at the LMCC’s Residency at Cité Internationale des Arts, Paris.