Catalogue > Liste par artiste

SCULPTORS deals with the hardships of a farmer on dry land and those of a taxidermist who wants to stuff a species threatened with extinction. Both men find special solutions to their problems: The farmer places his entire herd of goats in the branches of a tree next to the motorway to attract tourists who want to capture the bizarre image. The taxidermist, on the other hand, makes do with two black bear skins, one of which he bleaches white and then sews together with the second skin to end up with something resembling the black and white fur of a giant panda. In describing these strategies, Khereddine is concerned with the relationship between image and thing, copy and original, imagination and reality, appearance and essence. In both examples examined, the obsession with the repetition of the image, the consumer’s desire to always have everything, and the individual’s urge to stand out from the crowd shines through.

In his work, Roman Selim Khereddine combines academic research and essayistic writing, found footage and his own moving images. His video essays deal with topics such as the popularity of police dogs in North Africa (German Shepherds Need Heroes Too, 2020), two of the most iconic photographs of the 21st century (Falling Man / Hooded Man, 2021), the history of Moroccan workers in Swiss circusses (‘How the Circus got its Moroccans’, 2021), the difficulties of making a taxidermy mount of a Panda (SCULPTORS, 2022) or the trials and tribulations of zookeepers in Palestine (behind a thousand bars no world, 2023). Khereddine holds Master’s degrees in History and Fine Arts. He lives and works between Zurich and Paris.

TEHRAN PORTRAITS est un journal expérimental, une contemplation sur les détails de cette ville de 14 millions d'habitants. Malgré son image tourmentée, il ne se passe rien de spécial dans le quotidien de cette ville. Présentés en installation ou projetés les uns à la suite des autres, chacun des 5 segments de TEHRAN PORTRAITS offre au spectateur un regard, un aperçu des fissures et des cions de la ville immense. De la place de la Liberté au centres commerciaux huppés du nord de la ville en passant par les centaines de chantiers en cours, le spectateur voyage dans les sons et les images quotidiens de Téhéran, confrontant ainsi ses préjugés aux réalités de la capitale iranienne. En tant qu'installation, les films sont disposés en un pentagone dans lequel entre le spectateur, chaque écran diffusant en boucle un point de vue de la ville. Le lieu est silencieux mais des casques diffusent l'ambiance sonore enregistrée par le réalisateur. Sons, images peuvent être asociés à la guise du spectateur. TEHRAN PORTRAITS peut également être projeté en séquences successives, le son étant alors diffusé en même temps. La projection complète dure environ trente minutes.

Bani Khoshnoudi was born in Tehran. She studied photography and video in Texas and currently lives in Paris. While in the USA, she worked as a director and editor on numerous projects, including experimental short films and documentaries. In France she has worked as artistic director on a number of documentaries, like the "Other Iran" series produced by Article Z in 2002. In 2004 she directed "Transit", for which she received the Grand Jury Prize at the Angers European First Film Festival and which played at many festivals, including Rotterdam, Sao Paulo, and Brooklyn. She also produced and directed the documentary "Shirin Ebadi : a simple lawyer", for ARTE television in 2004. She is currently producing and directing her first feature length documentary film in Iran.

Berlin/Charlottenburg Le jeudi 20 Mars, au lieu de boire mon café du matin, j'ai suivi à la télévision le début de la guerre en Irak en sautant d'une chaîne à l'autre. J'étais à la fois désemparée, impuissante et tétanisée. Les semaines qui ont suivi, j'étais tous les jours devant le téléviseur et je frottais mes pieds l'un contre l'autre jusqu'à les blesser. Comme une personne enchaînée qui ne se résout pas à sa situation, mais ne peut pas non plus la changer. Constamment à la recherche de nouvelles, j'alternais entre les informations en langue allemande, anglaise, française et arabe et je parcourais les journaux en ligne. Je voulais comprendre et me trouvais de nouveau dans cette envie(désir) d'avoir du nouveau, des retransmissions en direct, des discussions contradictoires. Il y avait tout simplement tout, livré à domicile. En tant qu'arabe vivant en Europe, on m'a souvent demandé ce qu'il en était de la situation au proche-orient. Surtout au début de la guerre. A chaque conversation téléphonique, cette question tenait lieu de salutation. Je sentais de la prudence ou coyais entendre de la pitié. Cetains me consolaient avec l'espoir d'un dénouement rapide. Ces attitudes étaient compréhensibles, mais le fait d'en parler continuellement était devenu une torture. Ces discussions récurrentes sur les effets et els conséquences de chaque nouvel événement et le sentiment de devoir en permanence me justifier me démolissaient. Et je me demande combien de temps cette sorte d'occupation va encore durer? Ou plutôt je pose des questions sur le réveil. "Comment te sens-tu?" me demandent-ils tous. Je réponds: "Comme ça!",

Née en 1965 à Damas, Syrie. Etudes à l'université de Damas et à l'université d'arts appliqués de Vienne. Peinture, graphisme, performance vidéo, photographie.

Pour la performance "Flower Carrier", Sonia Khurana a pendant six ans parcouru des villes à travers le monde en tenant une fleur en plastique. Chaque lieu nous est révélé de façon à la fois visuelle et acoustique : par la cacophonie des bruits de la rue quand l'artiste évolue dans la petite ville de Modinagar, par les rues embouteillées de Delhi, par le village vallonné de Rajpur, par les métros bondés de Londres par la frontière Badarur jouxtant Delhi qui est touchée par des problèmes de [sous] développement. Le simple fait de marcher le regard rivé sur la tige d'une fleur [en plastique recyclé] devient bientôt une sorte de rituel personnalisé ; une étude du soi dans un univers urbain se transforme rapidement en une insurrection de ville turbulente?. Il n'y a pas de grande narration. La narration se fait ici dans et à travers l'action, presque comme une forme d'enquête psycho-visuelle.

S o n i a K h u r a n a abridged bio: Sonia Khurana?s studies in art include an M.A. in 1999 at the Royal College of Art, London, earllier art education in Delhi, a short course at the Film and Television institute in Pune, and in 2002, a 2-year Research residency at the Rijksakademie in Amsterdam. All of the above was pursued through sholarships and Awards, including the coveted INLAKS Award, in 1997. She now lives and works in New Delhi. « My art practice embraces areas in-between video, photography, elements of performance, text, drawing and installation. In my work I often makes psycho-sexual enquiries into two main areas of experience: interiority, or embodied experience, and the dynamics of identity. Recent body of work focuses on the poetics of inner experience mostly through performance-based videos that are often visually simple and understated Through deleberately poetic intimations, I strive to explore and re-define the space of the political. » During and beyond November 2007, Sonia?s works are currently showing at : ?Public places Private Spaces? - Newark Museum, ? Horn Please? - Kunstmuseum Bern, ? Tiger by the tail ? - Rose Museum, Boston, ?India-Art Now? Spazio Oberdan, Milan, Film Festival Roma, Rome, ?Performa 2007? ? Gallery Elga Wimmer, New York and ?Global Feminisms? - Davis Museum, Wellselly.

In a world of eternal life, Xana struggles to reconstruct his fragmenting memory within an ordinary apartment. His only anchor is an obsolete tape recorder playing a single recorded message. As he performs mundane routines, his voice becomes increasingly overtaken by AI-generated voices trained on mechanical noise.

Ki explores technological obsolescence and the paradox of permanence—how digital memory deteriorates while physical waste accumulates eternally. In her sculptural practice, she transforms discarded industrial materials into responsive lighting installations by programming an interactive system with sound. Parallel to this, she produces essay films where non-human entities—virtual operating systems, mythological beings, and other technological agents—articulate speculative perspectives on the residues left by technological progress: psychopathological conditions, infrastructural failures, and systemic breakdowns.

LES OUBLIES DE CASSIS « La carrière Fontblanche", l`un des derniers bidonvilles de France en bordure de Cassis. Un village sans nom, sans enfants ni femmes, qui abrite des Tunisiens venus dans les années 1970, contrat en main, pour construire les villas de la cité balnéaire. En octobre 2005, le village improvisé et insalubre où ils habitent depuis 35 ans est détruit, pour être remplacé par une résidence sociale. Le documentaire de Sonia Kichah raconte la mémoire et les histoires individuelles de certains de ces hommes. Des hommes fragilisés par des années d`exil, de sacrifices, d`abnégation de leur vie pour subvenir aux besoins de leurs familles restées au pays. Au milieu de cet amoncellement de cahutes de fortunes, la vie se rythme autour des repères sociaux et culturels reconstruits à l`identique du village natal. La perspective du nouvel habitat est pour eux un deuxième déracinement. Une violence diffuse, qui met à mal le ciment qui les maintient debout et met en lumière l`ambivalence du relogement, la reconstruction d`une nouvelle vie. C`est l`histoire de ces hommes, oubliés depuis 40 ans au milieu d`une carrière de calcaire, suspendu dans un espace temps qui n`appartient qu`à eux. L`histoire d`une intégration et d`un nouvel exil...

Sonia Kichah a fait ses études à Paris et obtint en 1998, un DEA de cinéma à la Sorbonne. Après avoir été assistante à la réalisation dans " Frantz Fanon" de Cheick Djemai, elle passe en 2002 derrière la caméra pour signer son 1er court métrage "Feu Vert". Puis, elle assiste de nouveau Cheick Djemai en 2002 sur le film "La Mémoire retrouvée". Elle réalise son premier documentaire "Identités voilées" en 2005. En 2007, elle obtient une bourse de la Francophonie pour la réalisation d?un court métrage, la veuve, la tante et l?enfant ». Elle réalise en 2008 son deuxième documentaire «  Les oubliés de Cassis ».

A BODY POLITIC CLOSE UP Public Hearing is the verbatim re-performance of a rural American town meeting from a transcript downloaded as publicly available information. Shot entirely in cinematic close-up on black-and-white 16mm film, a cast of actors and non-actors read between the lines in an ironic debate over a Wal-Mart store expansion.

James N. Kienitz Wilkins (b. 1983, USA) is a filmmaker and artist living in Brooklyn. He is the recipient of numerous grants and periodic awards for various projects of specific and/or universal proportions. He is a graduate of the Cooper Union School of Art in New York City.

In the 1860s and 70s the so-called Molly Maguire assassinations rocked Pennsylvania’s anthracite region and made national headlines. A Vague Dread Seems to Silence the Tongue attempts to conjure the specter of violence that emerged out of the racial animus and labor struggles of the Civil War in the present day, setting the bloody events of the late 19th century against the contemporary landscape of a fading coal economy.

Edward Kihn’s work ranges across documentary and experimental cinema, photography and installation, and focuses on entanglements of politics, technology and labor--especially as they reflect and shape the particularities of place. He has received awards and fellowships from organizations such as NYFA and the Whitney Independent Study program and his work has been shown at venues such as Ji.Hlava, CPH:DOX, MSPIFF, Mimesis, Arquiteturas, Artists Space and others. He teaches Film Studies and media production at CUNY and UCSD.

Jean-Luc Godard shot a film in Germany 28 years ago. A young female director retraces his steps through Germany. She is 28 years old and searches for answers about her german identity and the art of filmmaking. Godards Film is a film about ghosts and history. Does she become a ghost in her own film?

*Born 1990 in Southern Germany. Studied Scenography and Exhibition Design at the University of Arts and Design in Karlsruhe. One year visiting student at the Städelschule in Frankfurt am Main in the class of Douglas Gordon. Since 2013 studies documentary film at the University of Film and Television in Munich.

We react to the multitude of images of the world - of the world we live in. This work explores the effects of synchronizing intent, delivery and objectification. The artwork is named after the arena where the tournaments take place, Er Meydani, Place for (brave) Men. This three channel video installation attempts to create a hyper-gaze by coordinating, directing, forcing together the many components that constructed the atmosphere of the arena. My attempt is to intensify the relationship between the observed and the observer. The power of the gaze is empowering. The situation that I construct rises to a lesser extent from a desire to dominate. It is born from the empathic valence of the images of he who surrenders. It is a theater of the momentary defeated, of the broken wrestler.

Ezgi Kilincaslan was born in 1973, Besni-Turkey. She received a degree in art and pedagogic at Marmara University, Istanbul. She lives in Berlin and graduated as "Meister Schüler" from the University of the Arts (UdK) with Prof. Katharina Sieverding. While initially formed as a painter, she is now experimenting with a variety of mediums including photography, video and installation - exploring and questioning matters of power, related with patriarchy and gender. Her films have been shown at various film festivals amongst which the International Film Festival Oberhausen, the International Film Festival of Rotterdam and the Center for Contemporary Art, Geneva.

Metanoia is a multi-channel video installation by artist Heidi Kilpeläinen that consists of footage shot in a sparsely populated rural area in the north of Finland during the pandemic. The work is autotheoretical, multi-layered and fluctuates between past and present. In a near future scenario, in a world where hurting insects is a crime, father and daughter work as insect police patrolling and monitoring a wild meadow from their workstation. Utopian practices are framed by everyday life events between the daughter and ageing father, who suffers from Alzheimer's disease and is grieving the recent death of his life partner. This single parent father-daughter dynamic sets in motion unresolved issues from childhood, beginning an inner journey of transformation that is gracefully and compassionately witnessed by the father. His presence, decades later, plays an important role in processing these flashbacks and somatic memories—initiating a deeper sense of healing. While the related research into developmental psychopathology, inner processes and daily life unfold, their police work throughout the seasons saves any remaining insect lives, while also monitoring the quality of the surrounding air, earth, and water by using canvas for painting. The nurturing ecofeminist values of the insect police contrast with the status quo of patriarchal systems, represented by their decaying uniforms—leftovers from her father's career as a policeman. This utopian, microcosmic practice between father and daughter mirrors the macrocosm of issues embedded in current environmental concerns. Personal, generational, and planetary traumas interplay, and roles reverse. Hurt, grief, and rage transform into love, compassion, and sensuous environmental actions and activism; perhaps the same qualities that need to be applied to mother earth for the coexistence and survival of companion species. The work has been supported by the Arts Promotion Centre Finland (Taike), the Finnish Cultural Foundation, Kainuu regional fund.

Heidi Kilpeläinen explores crossovers between visual art and music, merging their boundaries into 'total works of art'—creating combinations of video, installation art, and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human condition within it. Kilpeläinen has also released three albums under the title HK119 (One Little Independent Records, 2005-2013) and has performed internationally in clubs, galleries, museums, and festivals such as Performa, Tate Gallery, Victoria & Albert Museum, Madame JoJo's, Casa da Musica, and Kiasma, Museum of Contemporary Art.

Land of Dreams title is a translation of a much loved Finnish tango ‘Satumaa’, which Heidi Kilpeläinen sang during her two Tango Therapy performance tours at Refugee Centres and war invalids and their widows homes in Finland (2017/2018). On this tour Kilpeläinen also invited the participants to sing back to her, in their own languages. The performances were filmed and edited into a 3-channel video installation and a shorter, single channel video. Songs and encounters with people from Iraq, Yemen, Syria, Afganistan, Somalia and Eritrea – to mention a few – combine with accounts of Finnish war invalids and widows talking about their experiences of the war between Russia and Finland during the second World War. Tango Therapy is a performance in which artist Heidi Kilpeläinen sings to one person at a time, sitting on opposite chairs, while rest of the audience listens and follows the performance. Anyone from the audience is welcome to sit on the chair as it becomes free. It is an intimate and personal performance of songs, mainly of Finnish tangos, with no technology or amplification. The focus in the performance is on the human presence and eye contact. Understanding Finnish language is not necessary, it is the melody and the sentiment which communicate beyond the boundaries of language.

Heidi Kilpeläinen (HK119) explores crossovers between visual art and music merging their boundaries in 'total works of art' and creating combinations of video, installation art and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human Heidi Kilpeläinen (HK119) explores crossovers between visual art and music merging their boundaries in 'total works of art' and creating combinations of video, installation art and performance. Her work is equally inspired by the contemporary world and its technological fascinations, as well as the ancient, mythological forms that run through collective memory. She produces works of aesthetic interest with a critical eye on our social environment, reflecting on our human condition within it. In recent years she has focused her attention to understanding the effects of transgenerational trauma and transformation as alchemical process. Kilpeläinen has widely exhibited and performed in galleries and prestigious institutions, with a rich record of participations in shows and festivals, such as Rajatila gallery, Tampere (2021) Od Arts Festival, Somerset (2021) Kiasma, Museum of Contemporary Art, Helsinki (2019 / 2005) Kajaani Art Museum, Kajaani (2019) Tate Modern / Tate Exchange, London (2018) Camden Arts Centre, London (2016) Beaconsfield Gallery, London (2016/2015) Performa 07, New York (2007) and New Contemporaries, London / Liverpool (2004). She has also released 3 albums under the title HK119 (One Little Indian Records, 2005 - 2013)  and has performed internationally in music venues, galleries and museums such as Tate Gallery, Victoria & Albert Museum, ICA, Casa da Musica and Kiasma. 

A meditation on our fantastic condition of mortality and impermanence ... The peacock painted on the window will never dance or speak. It is only the peacock that lived in the forest which used to speak, dance, and walk in a sweet manner.

Andrew Kim (b. 1985) is an experimental filmmaker who received his MFA from School of Film/Video at the California Institute of the Arts in 2013. His work is inspired by the material properties of cinema and its unique ability to reify abstract ideas and ineffable feelings. Combining formal experimentation with at concern for the phenomenology of the cinematic experience, Andrew’s films are an attempt to understand the movement of the mind. Ultimately, his films attempt to transcend the exact mechanics of motion pictures such that a film might articulate a new kind of knowledge. Andrew’s films have screened at a variety of venues and festivals including the Ann Arbor Film Festival, International Film Festival Rotterdam, Festival du Nouveau Cinema (Montreal), Images Festival (Toronto), BAFICI (Buenos Aries), UnionDocs, and Los Angeles Filmforum, among others. Andrew lives in Los Angeles, California. There he is a staff member at the Echo Park Film Center and teaches film production at the California Institute of the Arts.

Pour les travailleurs migrants philippins employés dans des usines à la périphérie de Séoul, la maison est à la fois un lieu quitté et un espace paradoxal de désir et de crainte — un lieu emporté par les inondations mais qui continue de hanter la mémoire. Sans cesse déplacés, relogés, remis en mouvement, leur idée du foyer devient indissociable du mouvement même de leurs corps. Les sons des machines d’usine, des fragments de films d’horreur et des images de téléphones portables s’entrelacent pour composer un récit qui se déploie à l’intérieur du corps du travailleur migrant lui-même. J’ai commencé à imaginer une maison pour celles et ceux qui dérivent toujours.

Woong Yong Kim a étudié la réalisation cinématographique et l’art contemporain à la Haute école d’art et de design de Genève (HEAD – Genève), en Suisse, et développe une pratique à la croisée de l’installation vidéo et du cinéma. Il a participé à plusieurs programmes de résidence, notamment au Digital Arts Studios de Belfast, au CEEAC de Strasbourg, à la résidence MMCA Goyang, au SeMA Nanji Studio, à l’ACC, ainsi qu’en tant qu’artiste invité à la Rijksakademie. Il a également achevé les cours doctoraux en théorie du film et des médias à la Graduate School of Advanced Imaging Science de l’université Chung-Ang. Par ailleurs, il a traduit et publié en coréen Exhibiting the Moving Image (JRP|Ringier).

Petra Genetrix, who lives in the imaginary space “Porosity Valley”, is a composition of minerals living in a gigantic and bizarre-looking rock crystal protruding from the rock face. As people - fascinated or overwhelmed by its bizarre figure - often visit Petra Genetrix to purify their thoughts, over the years Petra has developed into a kind of pseudo-mythical being, regardless of its own will. One day Petra faces a situation in which it must attempt to migrate to another rock platform due to an explosion that occurred in Porosity Valley. In the process, as a would-be migrant, Petra faces various realistic problems unimaginable for a divine being. It is subject to an interview to confirm that it is a being appropriate for migration, and placed in quarantine for 40 days to rule out the possibility it is carrying any viruses that may pose a threat to the new platform. Later, it is presented with the opinion that Porosity Valley could be duplicated, as Petra’s mythological function has been found by the Immigration Data Center to be favorable to humans…

Ayoung Kim applies remote imagination and speculation in order to reflect the incoherent and anomalous properties of life and of the world. By acquiring fictional narrative devices and rhetoric, Ayoung Kim evokes unfamiliar forms of reading, listening and thinking of the conditions of the world by focusing on unlikely encounters of ideas. Recently, Ayoung Kim has been endeavoring to graft and collide the fictional and the historical together through distorting reality via the tool of “histofuturism”. In terms of the context of the works, they often deal with the issues and notions of crossings, transnational activities, transpositions, transmissions, and the altering and changing of platforms. The subjects of those movements are either humans or non-humans, such as minerals or data particles. Ayoung Kim had solo shows at Ilmin Museum of Art, Seoul (2018); Melbourne Festival, Melbourne (2017); Palais de Tokyo, Paris (2016) and created a performance piece at the national opera house in Paris, Palais Garnier (2016). Group shows and performance events include Sharjah Film Platform, Sharjah (2019); Gwangju Biennale, Gwangju (2018); Kunsthal Aarhus, Aarhus (2018); MMCA, Seoul (2018); the 56th Venice Biennale, Venice (2015), among others.

Le temps devient incertain. Hier, aujourd’hui et demain ne semblent plus se répondre. Chaque jour existe à part, comme s’il n’y avait que des variations d’aujourd’hui. Ce qui les relie encore, c’est le temps qui continue de s’écouler — toujours vers la fin.

Wonwoo Kim est né en Corée et vit actuellement en France. Son travail explore la vie, le temps, la mémoire et la mort à travers des images issues de son quotidien. Formé à la photographie en Corée, puis aux arts visuels à l’École nationale supérieure d’arts de Paris-Cergy, il développe aujourd’hui une pratique filmique où se croisent écriture, image et rythme. Ses films, souvent composés d’images intimes et de gestes ordinaires, questionnent la perception du temps et la présence du monde. Ils tissent un dialogue entre mémoire personnelle et expérience collective, entre réalité et disparition. Son film Writing Poems at the End of the World (2025) a reçu le Prix du Meilleur Court Métrage au festival Punto de Vista 2025. Ses œuvres ont également été présentées dans plusieurs festivals internationaux, dont Jihlava IDFF et Images Festival. L’écriture, notamment poétique, reste au cœur de son approche cinématographique : elle guide la construction des images et des durées. À travers la vidéo, il cherche à filmer ce qui échappe — le passage du temps, la fin d’un instant, la fragilité du réel.

Born Beneath is an experimental music video and short film that utilizes mythological storytelling to explore hybridized Korean cultural identity. Sooun Kim uses multivalent footage and audio influenced by traditional Korean music, contemporary electronic music and rap to demonstrate the ways in which cultural imperialism, the long-term influence of the Korean War and Japanese colonial era has influenced his generation. His use of footage gathered from multiple sources shows the birth of a new cultural identity. An identity that is acquired through the process of exploring cultural hybridity, formed amidst instability.

Sooun Kim is a multidisciplinary visual artist working through music, painting and sculpture, more recently expanding his visual language to include video and installation. He is interested in hybrid cultures that iterate from the effects of post-colonialism and cultural imperialism. His work, Yellow Fever (2019), marked the beginning of his auto-ethnographic journey, where he collected his grandfather’s biography alongside records of historical figures to recover his personal cultural identity. Further interested in popular culture, he includes audio-visual reflections of his contemporary being as a South-Korean migrant where the past and present collide. Consciously unpredictable, Kim uses image and sound to play with viewer expectations by seducing and repulsing - genre bending to create an undefinable hybrid.

Situé approximativement dans la Corée des années 30, "Vaudeville" est un poème visuel sur le désespoir, l'errance et la perte d'identité culturelle.

Chansoo Kim a étudié l'animation à la Faculté D'Animations et Arts Numériques à l'Université de Californie du Sud, et il a produit des courts-métrages animés en utilisant diverses techniques, du dessin à la main au procédé de stop-motion (image par image) et de CGI (images de synthèse). Ses films, "Woman in the Attic" et "Floating" ont attiré l'attention des critiques dans le circuit des festivals. Son nouveau film, "Vaudeville", fait actuellement la tournée des festivals depuis le printemps 2005. Chansoo a récemment achevé l'"Animation Apprentice Program" aux studios "Rhythm and Hues" et travaille actuellement en animation CG.

Un curateur, "Amalia Pica" "m"'écrit un SMS, demandant de réaliser une vidéo courte hors des chewing-gums collés sur les trottoirs d'Amsterdam. "Je" me mets à réfléchir sur la manière dont "j'" ai été éduqué à mâcher du chewing-gum, à me brosser les dents, à porter des vêtements. Puis, "j'" établis des comparaisons avec une petite amie qui porte des vêtements différemment, qui mâche du chewing-gum différemment, et qui aurait réalisé différemment.

Sung Hwan Kim, artiste né en 1975 à Seoul, en Corée, a obtenu un Master of Science in Visual Studies au M.I.T, et a été en résidence d'artiste à la Rijksakademie van Beeldende Kunsten. Il a présenté ses oeuvres dans des lieux comme la Biennale de Gwangju, la Biennale de Busan, l'Institut d'Art Contemporain de Portland, Asia Society, D.U.M.B.O art center, Pacific Film Archive, Le Plateau (Paris), The Living Art Museum (Reykyavik), Mediamatic (Amsterdam), SMART Project Space, (Amsterdam), Objectif-Exhibitions(Anvers), Leeum Samsung Museum of Art (Séoul) et dans différents festivals internationaux de cinéma. En tant que performer, il a participé à "Lines in the Sand" de Joan Jonas, à la Documenta 11 de Cassel, à la Tate Modern de Londres et The Kitchen de NYC.

The work is composed of two separate films followed by each other. Both films explore transcendental issues through archaeological and illegal excavations of tombs. "After Life" consists of a sequence of meditative short scenes picturing the ruins of a small Faliscan necropolis Cavone di Monte Li Santi in Italy and its surrounding natural elements. The rock-cut chamber tombs of the necropolis had been illegally excavated before they were archaeologically discovered in 2015 – a phenomenon still faced by many rural archaeological sites. At the center of "Red Impasto Jar" is a looted archaeological tomb object. In antiquity, the funeral was a significant ceremony where entombing of the body was just one component in the complex sequence of events. This ancient Faliscan tomb item dating back to the 6th century BCE was passed on to the archaeological museum (Mazzano Romano, Italy). The jar is radically altered and damaged by being cemented into the structures of a house as a decorative element. The film portrays the state of the pottery focusing on the detailed choreography and documentation of the object with a slow 360º rotation on a robust industrial motor against a monochromatic background.

Sound, perception and imagination are essential ingredients in the research and practice of Jonna Kina (b. 1984). Her work reveals the value of fictional viewpoints in non-fictional investigations. Kina’s works have been shown in the Tokyo Photographic Art Museum; Fondazione Pastificio Cerere, Rome; Dunkers Kulturhus, Helsingborg; Musée de l’Elysée, Lausanne; International Film Festival Rotterdam; Hasselblad Foundation, Gothenburg; Espoo Modern Art Museum EMMA; Kumu Art Museum, Tallinn and in Sara Hildén Art Museum, Tampere, among others. Kina has recently been awarded the Finnish Art Prize “Below Zero” (2018) and her film Arr. for a Scene was awarded as the “Best Nordic Short Film” at Nordisk Panorama Film Festival in Malmö (2017). She was also shortlisted for the VISIO Young Talent Acquisition Prize in Florence (2017).

Tourné sur un terrain de camping à la fin de l'été, ce film révèle un paysage transformé de manière spectaculaire par la lumière et le temps, où résonne le caractère éphémère de la présence humaine.

Brandebourg/RDA 1979. Trois terroristes de la fraction ouest-allemande de l?armée rouge, fatigués de combattre, préparent, sous l?égide de la Sécurité d?Etat est-allemande (STASI), des biographies fictives qui doivent leur permettre de mener une existence secrète en Allemagne socialiste. La discussion des trois hommes au sujet de leurs fausses identités se transforme en bilan de leur véritable passé politique et en aveu d?échec sur le plan humain.

Autor, Regisseur, Künstler Etudes de peinture, de cinéma, d?histoire de l?art et de philosophie à la Kunstakademie et à l?université de Düsseldorf. Courts-métrages expérimentaux depuis sa période scolaire (1969), clips musicaux dans le domaine indépendant (en partie rachetés par la Cinemathèque Française), jusqu?à aujourd?hui auteur/réalisateur de 3 longs-métrages . Rainer Kirberg travaille dans le domaine artistique depuis 1979 au travers du cinéma, de l?installation scénique et de la performance. En plus de ses propres projets, pour lesquels il a été responsable de production, des décors, de l?architecture, de tournage et de cut, Rainer Kirberg travaille comme auteur pour l?industrie du film et de la télévision allemandes. Prix du scénario de Rhénanie-Westphalie en 1991, nomination pour le prix du scénario allemand en 1996. Parmi les artistes qui ont collaboré aux projets de Rainer Kirberg, on compte la star de cinéma française Tcheky Caryo ( ?Nikita? ) et des acteurs allemands renommés comme Erwin Leder (?Das Boot ?), Christoph Eichhorn (?Zauberberg? : ?Montagne magique?) et Peter Lohmeyer, sans compter des personnalités de rang international comme Amanda Lear, muse de Dali, et Kenneth Anger, une légende du film underground.