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Taisuke conduit à travers les nuits d'un Tokyo futuriste. Des autoroutes lumineuses reflètent l'immensité et l'infini, avec des réseaux reliant les hommes, les véhicules et les visions. "Caress"... des images hypnotiques de voyages omniprésents de notre époque.

Selene KOLMAN est née en 1966, aux Pays-Bas. Depuis 2002, elle est enseignante à l'Université de Utrecht (Nouveaux Media et Culture Numérique) FORMATION 1994 - Maîtrise de Philosophie, Université d'Amsterdam 1993 - Licence à l'Art Academy Minerva, Groningen 1990 -Histoire de l'art propédeutique, Université de Groningen Stef KOLMAN est né en 1967 aux Pays-Bas. Depuis 2003, il est directeur artistique, MediaCatalyst, Amsterdam FORMATION 1993 - Maîtrise : M.A. History&Theory Architectural Association, Londres 1992 - Licence à la Design Academy, Eindhoven Stijn VAN SANTEN est né en 1965 à Amsterdam. Après avoir achevé ses études à la Sint Joost Academy of Art à Breda en 1992, il devient cameraman (16mm) pour "Miss Blanche" et "Leklicht" de Mark de Cloe, "Some Like It Hot" et "Can't U Hear me Singing" de Walter Stokman, "De Tijdreiziger" de Dick Tuinder et "Jannes de Film" de Rein Hazewinkel. En 1993, il reçoit le Grolsch Prize pour les nouveaux talents au cours du Festival du Film Hollandais (1993). Il réalise "Igitur, Act of Presence" et "Goud", pour lequel il remporte la Golden Flame. En 1995, il réalise "Downstairs", sélectionné pour le Golden Calf. Ses récents films sont : "Ichiko, Laatste woorden" (documentaire) et "Talmen" pour lequel il a remporté le Golden Calf et plus récemment "Profs" (Kort! 2004).

En utilisant ma caméra comme projecteur, révélant silencieusement les textures, l'espace narratif se dévoile. Les images et sons saisis rappelleront des lieux dans nos propres souvenirs. Chaque moment déterminé est comme une capsule de temps, un rappel d'un futur oublié dans le passé.

Kolster (1978-...) est une plasticienne et a une formation en design. Récemment, son travail s'est plus orienté vers la vidéo et le film, s'attachant à des détails de paysages urbains et visualisant des fragments d'histoires de ces environnements. Elle a recours à différentes stratégies, de medias tels que la vidéo, le film et la photographie, à des méthodes de recherche appartenant à diverses disciplines d'observation (journalisme, documentaire et archéologie).

Troisième volet de The American West Trilogy (les deux premiers volets étant Nome Road System et Milltown, Montana (VdR, 2010)), ce film est un portrait poignant et complexe de la vie et des paysages du désert de Mojave. Par sa structure désarticulée qui évoque presque le "fingerpicking" minimaliste de John Fahey, tel un blues décharné perdu dans le temps, le film observe la façon dont la vie s`imbrique et s`écarte de la trame d`un mode de vie américain complètement oublié par les politiques de l`idéologie néolibérale. On y entend le poète et détenu Stanley »Spoon« Jackson, condamné en 1977 à perpétuité sans possibilité de libération conditio-nnelle et qui a séjourné dans plus d`une demi-douzaine de prisons californiennes, lire des passages de son autobiographie By Heart. Des images d`un monde imprégné par la pure mythologie américaine sont entrecou-pées et noyées dans la réalité et les conséquences brutales de politiques financières implacables. »Barstow, California« incarne assurément l`autre côté du rêve américain. Giona A. Nazzaro

Geboren 1944 in Guben. Filmstudium an der Kunstakademie Düsseldorf, Meisterschüler. Filmprojekte in Alaska, Indien, Japan, Jemen, Kalifornien, Lettland und Montana. »Barstow, California« wurde mit dem ARTE Dokumentarfilmpreis 2018 ausgezeichnet, »Nome Road System« mit dem Deutschen Kurzfilmpreis 2004, »B 224« mit dem Hessischen Filmpreis 2001, »Zigeuner in Duisburg« mit dem Preis der Deutschen Filmkritik 1980. Ruhrpreis für Kunst und Wissenschaft 2006. Masterclass IDF / Prag (2012); Videonale.scope Retrospektive / Köln (2014) http://www.videonale.org/en/VideonaleScope-2014; Iasi-Installation (2015) https://vimeo.com/135471613; Villa Kamogawa / Goethe-Institut Kyoto (2015) https://www.goethe.de/ins/jp/de/kul/res/sti/s15/rko.html. Festival-Screenings in 35 Ländern; Preise in Kanada, Frankreich, Polen und USA. Regie, Kamera, Word Art, Gedicht. Lebt in Berlin und Mülheim an der Ruhr.

L'histoire de cette vidéo est tirée d'une nouvelle, "The Name of Wu-mei", écrite par YUEN Siu-cheong. Yuen utilise une méthode de narration extraordinaire pour présenter l'histoire. Il pousse le lecteur à remettre en question son propre bon sens pendant la lecture. L'histoire parle du narrateur, Nin Kuen, qui nous raconte le procédé utilisé pour achever le roman "The Name of Wu-mei", tandis que nous découvrons, au cours de la narration, que l'intuition que l'on avait ne pourrait être qu'un mensonge de plus.

En 2000 et 2005, Kongkee est diplomé en arts plastiques à l'Université Chinoise et à la School of Creative Media, City University of Hong Kong. Il s'intéresse ensuite à la bande dessinée et aux vidéos, et crée notamment la bande dessinée en ligne : "Rice-Gas". En 2003, sa série de bandes dessinées "Imperfect Shoes" est publiée. Son récent film, réalisé en collaboration avec le romancier YUEN Siu-cheong, "Name of Wu Mei", vient d'être sélectionné par le Hong Kong Art Biennial 2005, le Musée d'Art de Hong Kong. Filmographie vidéo : "Negative Record"(2000), "Princess Cheung Ping"(2004).

Sequenza is an experimental film project by Manon de Boer and George van Dam based on the composition Sequenza VIII for solo violin by Luciano Berio . From a long history of cooperation - to include the soundtrack of Manon de Boer's film trilogy Sylvia Kristel - Paris (2003), Resonating Surfaces (2005) and Think about Wood, Think about Metal (2011) and her portrait of George van Dam in Presto, Perfect Sound (2006) - came the desire to work together to make a movie based on Sequenza VIII . This piece is for its crystalline structure one of the most beloved compositions by George van Dam . Together with Manon de Boer, he wants to explore how rhythm and structure of this composition can be articulated in conjunction with moving images to penetrate. So even deeper into the composition Manon de Boer is fascinated by the image of the intimate contact of the chin, the ears, the face of the violinist with the violin, which extends in the movement of his arms and hands to the body and space, the instrument - body of the violin as a material, physical transition between two abstract elusive poles : that of the mental construction of the composition and experience of its sounds in space. Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space.

Manon de Boer (°1966 in Kodaicanal, India) completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated. Her work has been exhibited internationally, at the Venice Biennial (2007), Berlin Biennial (2008), Sao Paolo Biennial (2010), Documenta (2012) and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2008), Frankfurter Kunstverein (2008), London South Gallery (2010), Index in Stockholm (2011), Contemporary Art Museum of St Louis (2011) and Museum of Art Philadelphia (2012), among others. De Boer currently teaches at the School of Arts in Ghent and ERG in Brussels. She lives and works in Brussels.

Concrete & Samples I, II, III is a series of 16mm films on sculptural architecture. What the buildings and site in all films have in common is the idea of ?architecture as sculpture? and a very distinct use of concrete that seem to depart from the free form of the whole in a sculptural manner. In the absence of a traditional narrative, it is the space itself, that takes the role of the protagonist, while the camera proposes a narration through its travel and observation. The church of Fritz Wotruba, in Vienna looks like an enlarged piece of abstract sculpture, a kind of three-dimensional synthetic cubist arrangement of 152 concrete blocks arranged vertically and horizontally, but asymmetrically, in which the narrow spaces produced in-between are made use of as windows and doors.

Aglaia Konrad is a photography based artist living in Brussels whose work has focused mainly on metropolitan urban space. She has been advising researcher at the Jan Van Eyck Academy in Maastricht and is currently teaching at the Hogeschool Sint-Lukas in Brussels. She had presented her work in solo exhibitions in Siegen, Antwerp, Geneva, Graz, Cologne and New York, among other cities, as well as in international group shows such as Documenta X (1997), Cities on the Move (1998-1999) and Talking Cities (2006). Her work has been documented in several exhibitions catalogues and monographic publications such as `Elasticity` (2002) and `Iconocity` (2005). For her latest book `Desert Cities` (2008) she received the Infinity award for the best photo book 2009 of the International Center for Photography, New York.

De Boer a invité le pianiste basé à Bruxelles Jean-Luc Fafchamps à jouer deux fois de suite la composition « 4?33?? » de John Cage devant un auditoire, dans un studio des P.A.R.T.S. (Performing Arts Research and Training Studios) de Bruxelles (Belgique). En une seule prise, la caméra filme l'exécution de cette composition musicale « silencieuse », avec les trois signes de ponctuation indiqués par Cage sur l?unique ligne de la partition à 1'40", 2'23" et 2?30", que Fafchamps, qui demeure le reste du temps toujours calme et absorbé, interprète en touchant un chronomètre. Tournée sur une pellicule 35 millimètres, ce qui assure la netteté des détails visuels, cette première partie est mariée à un son ambiant enregistré de façon synchrone, joué en surround Dolby lorsque l'?uvre est projetée. À la seconde interprétation, qui correspond à la deuxième partie du film, De Boer coupe tous les sons, à part les clics du chronomètre de l?exécution.

Manon de Boer est née en Inde, vit et travaille à Bruxelles (Belgique). Elle réalise des films, des vidéos, des installations, publie et enseigne à KASK. Elle fait partie de la plateforme de production-distribution Auguste Orts. Utilisant la narration personnelle comme une méthode, Manon de Boer explore la relation entre le langage, le temps et les revendications de vérité. Elle explore également la perception du temps par le biais d?un usage conscient du film en tant que médiateur artistique, et par l?analyse de ses effets sur le spectateur. La façon dont elle désincarne l?image, le son et la musique dans ses compositions, modifie subtilement le schéma classique de la perception du film.

Das Haus deepens the exploration of sculptural architecture that Aglaia Konrad conducted with the series of 16mm films Concrete and Samples. Shot in a house designed by architect Juliaan Lampens in Sint-Martens-Latem (Belgium), the film resumes the artist’s interest on the possibilities of the cinematic medium to generate –rather than capture - an architectural experience. An experience which, in this film, surpasses the visual to mobilize bodily perception and even desire. Konrad’s editing carefully measures the doses of perceptual information it provides to our orientation drive in a process that departs from an initial willingness to orient oneself towards the pleasure of surrendering to disorientation and fragmentation. A disorientation that could be called “perverse” in the sense that Freud bestowed to the word –perverse pleasures are those which linger in the detour; in the resistance to result in a productive goal– insofar as the film replaces the production of a representation of space in favour of perceptive defamiliarization and tactile pleasure. Architecture and film are constantly looking at each other in a piece in which "angle", "transition", "cut", "sequence", "frame", " joint", " fold " and "rhythm" are notions that are spread from one discipline to the other as if the camera and editing would be reading the space as a composition score. There are two architectural comparisons that are often applied to filmmaking: the idea of cinema as a "window" and as “mirror". Das Haus, entangles and complicates those comparisons by treating windows as interfaces that blur the inside and outside and whose transparency acquires materiality, and by using mirrors as devices that disrupt form pushing it to a state of potentiality. In Das Haus the screen is no longer a window but rather a skin: for it is a body interface, a tactile surface and a membrane that is neither safe nor transparent because it reveals its inner cinematic compositional strategies.

Aglaia Konrad is a photography based artist living in Brussels whose work has focused mainly on metropolitan urban space. She has been advising researcher at the Jan Van Eyck Academy in Maastricht and is currently teaching at the Hogeschool Sint-Lukas in Brussels. She had presented her work in solo exhibitions in Siegen, Antwerp, Geneva, Graz, Cologne and New York, among other cities, as well as in international group shows such as Documenta X (1997), Cities on the Move (1998-1999) and Talking Cities (2006). Her work has been documented in several exhibitions catalogues and monographic publications such as 'Elasticity' (2002) and 'Iconocity' (2005). For her book 'Desert Cities' (2008) she received the Infinity award for the best photo book 2009 of the International Center for Photography, New York. The book 'Carrara' (2011) won the Fernand Baudin Prize 2011. Before the trilogy Concrete & Samples (2009-2010) she made the film Sculpture House (2008, 12'05") based on a house built in 1968 around Liège (BE) by Jacques Gillet, Felix Roulin and René Greisch.

The subject of Aglaia Konrad’s 16mm films is modernist architecture but rather than a form of architecture on film, or film on architecture, her films investigate the potential for film to embody the experience of architecture as sculpture. The protagonist here is ‘La Scala’, a villa on Lake Garda, designed by Vittoriano Vigano for André Bloc in 1958. The ‘multiple projection’ (split-screen) of La Scala proposes a multiplicity of perspectives and, more significantly, a succession of combined images.

Aglaia Konrad (1960, Salzburg) criss-crosses urban spaces. Her photographs, films and installations zoom in on exceptional buildings and the transformation of cities. She focuses on the way architecture is visualised and exhibited. Aglaia Konrad lives in Brussels and teaches at LUCA School of Arts. She had presented her work in solo exhibitions in Siegen, Antwerp, Geneva, Graz, Cologne and New York, among other cities, as well as in international group shows such as Documenta X (1997), Cities on the Move (1998-1999) and Talking Cities (2006). Her work has been documented in several exhibitions catalogues and monographic publications such as ‘Elasticity’ (2002) and ‘Iconocity’ (2005). For her book ‘Desert Cities’ (2008) she received the Infinity award for the best photo book 2009 of the International Center for Photography, New York. The book ‘Carrara’ (2011) won the Fernand Baudin Prize 2011. In 2016 she published ‘From A to K’ (Buchhandlung Walther Konig).

In 1968, the island of Sicily suffered a huge earthquake that completely devastated several villages, including Gibellina. Il Grande Cretto, the intervention projected by the Italian artist Alberto Burri for the ruins of Gibellina, a small village in the western part of the Island. This intervention - which took over thirty years to complete, after successive interruptions and recommences - is for me the most crystalline and powerful implementation of what may be described, in an apparent paradox, as a contemporary monument. The radical aspect of this place is that the monument coincides with the memory of the event. It is therefore, a performative piece - a living monument. The monument is the place, on a 1:1 scale. Aglaia Konrad’s films are careful and rigorous approximations to certain places or realities. In her films she works with matter (light, sound, memory and perception), on the one hand, and with language (editing, rhythm and repetition) on the other. The 16mm film IL CRETTO (transferred to video), uses of a split-screen (recorded in- camera) and dual projection.

AGLAIA KONRAD Austrian, self-taught as an artist, lives in Brussels and teaches at the LUCA School of Arts. She participated in numerous international exhibitions such as Dokumenta X, 1997 in Kassel; "Cities on the Move" 1998 and 1999 (Bordeaux, New York, London, Helsinki, Wien); Shanghai Biennale 2000, "Gazes of Architecture on the Body", Tokyo Wonder Site and Museum of Contemporary Art, Kumamoto, "In the First Circle", Tapies Foundation Barcelona, EMINENT DOMAINS (proper names), Robert Miller Gallery, New York City; Hollein, MAK Vienna; The Brutalism Appreciation Society, HMKV Dortmund, 2009 a soloshow at the Museum of Contemporary Art in Siegen; Sainsbury Gallery Norwich; Fotohof Salzburg; STUK und Netwerk Aalst; in 2016 M Museum, Leuven. "Aglaia Konrad. From A to K", kam bei Koenig Books heraus. Published books: Elasticity (2002); Iconocity (2005); Desert Cities (2008); Carrara (2011 ); Zweimal Belichtet (2013); Aglaia Konrad: From A to K ; SCHAUBUCH: Skulptur (2017).

In the experimental documentary Play Curacao (2015) contemporary games, social rituals and leisure typical for the Caribbean island of Curacao are thoroughly investigated through a mix of observations, discussions and performative acts. During a four month residency at the Instituto Buena Bista artists/filmmakers Kasper Jacobs and Frank Koolen followed a wide variety of sub-cultures and singletons in their free-time routines resulting in a personal taxonomy of the Caribbean ‘Homo Ludens’. Play Curacao offers a dynamic, absurd and playful insight in the versatile everyday society and culture of Curacao.

Kasper Jacobs and Frank koolen, both visual artists working in the field of film and photography, met in 2007 and since then have been assisting each other frequently in a range of individual projects. Through these collaborations they created a mutual frame of preference and understanding. Their shared interest in subcultures and the structures they create to frame their own reality form the fundament of `Play Curacao` and future projects. Kasper Jacobs (1981, Bergen, NL) studied at the Gerrit Rietveld Academie in Amsterdam. Frank Koolen (1978, Maastricht, NL) studied at the HKU in Utrecht, De Ateliers and the Rijksakademie van Beeldende Kunsten in Amsterdam.

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Born 1970 in Frankfurt/Main, lives in Paris and Berlin 1992-1994 : studies philosophy at Paris IV, la Sorbonne. 1996 : graduates from Ecole Nat. Sup. des Beaux Arts, Paris.

Title: NS-12 Authors: Kristjan Loðmfjorð (is) / Konrad Korabiewski (dk/pl/is) Form 1: Audio Visual installation for 8 channels, 1 subwoofer and 1 HD projector Form 2: DCP master with 5.1 audio for cinema/festival screening, 52 min. NS-12 (2014-2018) is audiovisual collaboration between the filmmaker Kristjan Loðmfjorð and the composer Konrad Korabiewski. Using the means of sound and image, NS-12 poetically portrays the fishing trawler Gullver NS-12 based in Seyðisfjorður, East Iceland. The trawler is a self-contained world; a space which functions both as workplace and as collective living arrangement, which is also personally and physically affective. For the people working on board the ship might be seen as a tool, but artistically it is perceived as a living organism, as a musical instrument triggering the senses, and as a visual landscape impressing with textures and colors. The constant sensation of motion from the heaviness and roughness of the rolling trawler conveys a state of confusion or reverie, like that triggered by seasickness. The ship itself is always in the foreground, with the life on board as the background. Thus NS-12 captures the moment of an everyday situation applying an expressionistic approach for an experimental outcome. It communicates the human spirit, essential for the experience of the trawler at sea with the ceaseless sound and vibrations of the engine. The original soundscape for the work is realized as a contemporary composition where all the sonic material is sourced from reality, whereas the imagery is mainly based of still-life recordings where visual perception shines above realism. Together the two mediums explore the complete body of the trawler as a visually intriguing labyrinth, where each room has its own way of carrying the sound from the engine. The complete work including sound and image is purely field recorded, accompanied with voiceover recordings performed by the Seyðisfjorður Church Choir and the fourth (and Europe`s first female) president of Iceland, Mrs. Vigdis Finnbogadottir. Recordings on board Gullver NS-12 took place during the period of September 2012 - December 2013. Methodology: In the research process, the artists went out on three tours on the trawler to capture sound and image in various seasons and weather conditions. The machinery and the captain’s diaries were also examined, extracting relevant texts. These transcripts were integrated into the final piece as subtitled and as read text, as they are very evocative and give an irrational sense of the trawler`s path: such as the ship`s state examination while in the dockyard, weather reports from out on open sea, injuries on board, and mechanical breakdowns. 8 channel installation: A sound and video installation preferably presented by itself in a separate exhibition room. This 8 channel installation configuration,referring to the 8 cylinders of the trawler´s engine aims at conveying the physical presence of the trawler´space. Presentation history: 14.10.15 QC-Montréal,Festival Nouveau Cinéma, screening 11.10.15 QC-Montréal, North American premiere Festival Nouveau Cinéma, screening 26.10.2014-31.01.2015 DE-Marl, Marl Media Art Awards 2014, installation and award nomination 04.12.2014 CL- Valparaiso / South American premiere: Tsonami Sound Art Festival, installation 27.06.2014 PL-Gdańsk / Polish premiere: Soundplay Festival, installation 17.06.2014 IS-Seyðisfjorður, Icelandic premiere: Skaftfell – Center for Visual Art , installation 17.05.2014 DE-Berlin DAADgalerie, installation & artists talk 15.05.2014 DE-Karlsruhe, German / European premiere: ZKM | Center for Art and Media Karlsruhe / Institute for Music and Acoustics, Sound Dome installation Credit list: Phonography and composition by Konrad Korabiewski Manuscript and cinematography by Kristjan Loðmfjorð Sound engineered at Institute for Music and Acoustics ZKM - Center for Art and Media Karlsruhe by Konrad Korabiewski with Anton Kossjanenko Voiceovers by: Mrs. Vigdis Finnbogadottir The Seyðisfjorður Church Choir The work is supported by: Cultural Council of East Iceland Visual Art Council Iceland Danish Composers Society Danish Arts Foundation ZKM - Center for Art and Media Karlsruhe Detailed work description is available as pdf here: http://www.korabiewski.com/wp-content/uploads/2017/09/NS-12.pdf

KONRAD KORABIEWSKI composer/sound/media artist http://korabiewski.com konrad@korabiewski.com Danish | Polish | Icelandic Konrad Korabiewski (1978) is an award-winning experimental composer, sound and media artist working worldwide and currently residing in Seyðisfjörður, East Iceland and California. Characterized by a marked tendency to transgress various genres and media, his sound art, film music, installations, radio, video and multi-media art works have a strong site- specific element. Konrad Korabiewski’s musical atmosphere is sombre and intense, demonstrating a precise attention to musical space; at times with a meditative character, where distortion expresses an emotional depth that demands and attracts attention in minimalistic scenarios of sound. Among many international prizes and grants in 2014 Konrad Korabiewski was awarded the prestige Berliner Künstlerprogramm des DAAD academic award & working grant and nominated for 2 Media Art Awards: European Sound Art Award (formerly known as Deutsche Klangkunst-Preis) and Marler Videokunst-Preis in Germany. He holds a Master in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark. Konrad Korabiewski is founder and currently the director of Skálar | Sound Art | Experimental Music, Seyðisfjörður, East Iceland. He is an independent curator and Research Associate at Film and Digital Media Department of University of California, Santa Cruz. Also a key member of Danish Composers ́Society since 2004. Awards | nominations: 2014, NS-12, nomination for the Marl Video Art Award, Germany, 2014, The Art Book Orchestra, finalist in European Sound Art Award competition, Germany (formerly known as der Deutsche Klangkunst Preis) 2014, The Institute for Music and Acoustics – Zentrum für Kunst und Medientechnologie, awarded scholarship and residency 2013, Berliner Künstlerprogramm of the DAAD- Deutscher Akademischer Austausch Dienst awarded academic award, residency and working grant for 2014 2011, Skeyti, winning the international sound-art competition Europe A Sound Panorama 2011, Affected As Only A Human Been Can Be (interactive art book with integrated sound scape), nominated for Best Book-craft /art book of the Year, Denmark 2010, Affected As Only A Human Been Can Be (interactive art book with integrated sound scape) nominated for the Young Illustrators Award, Illustrative, Berlin, Germany 2005, Slowloop (animation video with sound scape ), winning first price at the film festi- val KRAKFFA, Cracow, Poland 2003, Lay Down (electro-acustic composition), finalist in Luigi Russolo Electro- acoustic Competition, Italy. Main education: 2012, Master degree in Electronic Music Composition, The Royal Academy of Music, Aarhus, Denmark.

Two boys and a girl prepare for nightclubbing in the heart of Athens. Arriving, they face a deserted club, where music plays blaring but there is no one to listen. There, one by one falls asleep as they surrender themselves in a collective dream.

Born with dual Greek/German nationality, Efthimis Kosemund Sanidis studied Informatics Engineering, and then Contemporary Arts at Le Fresnoy - Studio National in France. His films have won acclaim at festivals around the world. His debut short film, “ II ” (2014, 16’), won the Pack & Pitch award at Sarajevo while in development, followed by a world premiere in the Pardi di Domani section of the Locarno Film Festival. He shot his next two films, “ Odette ” (2015, 16’) and “ Unbuilt Light ” (2017, 29’), while in residency at Le Fresnoy, with the latter opening in competition in Sarajevo. “ Astrometal ” (2017, 15’) was nominated for a Golden Lion in the Orizzonti section of the 74th Venice International Film Festival.

"Ce qui se passe quand quelqu'un meurt, c'est que nous, les vivants, contenons leur mémoire en nous... Ils continueront à vivre en nous, et nous les célébrerons. Et nous danserons comme s'il n'y avait pas de lendemain." Diane Torr Une danse dédiée à l'artiste, drag king et activiste du genre Diane Torr, décédée en mai 2017. Un an plus tard jour pour jour, je danse dans une pièce noire: un seul plan fusionnant masculin et féminin comme une ode à la vie et à la mort. Le zeïbekiko, danse traditionnelle urbaine de la musique Rebetiko, était réservée aux hommes - par le passé. Elle est dansée ici par ma manifestation hybride - aspects mélangés de mon identité. En silence, j'entends les mots de Diane: "Prends l'espace de tout ton être. Approprie-toi l'espace". Je lève les bras et danse comme s'il n'y avait pas de lendemain, tandis que la caméra me suit. Pas de montage ou de reprise: le but n'est pas de plaire ou de séduire, mais de m'offrir comme lieu de soulagement collectif.

Fenia Kotsopoulou est artiste pluridisciplinaire, et primée dans les domaines de la performance, de la danse, de la vidéo et de la photographie. D’origine grecque, elle habite à Lincoln (Royaume-Uni). Elle est titulaire d'un Master en Chorégraphie d'art vivant de la University of Lincoln (Royaume-Uni), d'un BA Honours en Danse de la National Dance Academy of Rome (Italie) et d'une licence en Langue et littérature italiennes de la Aristotle University of Thessaloniki, Thessalonique (Grèce). Au cours des dix dernières années, la réalisation de vidéos et la photographie sont devenues des éléments dominants et constants de sa pratique artistique. Les thèmes centraux de ses projets récents sont, entre autres, le corps en tant que réceptacle des émotions et lieu de transformation, la mémoire personnelle et collective, la fragmentation, la (dé)construction de l'identité féminine, l'inconvenance, la honte et la pilosité. Ces dernières années, ses œuvres en tant qu'interprète (de danse), productrice et praticienne visuelle, ainsi que celles de son proche collaborateur, l'artiste numérique Daz Disley, ont été présentées dans de nombreux festivals et plateformes artistiques, dans les domaines de la danse, de la performance expérimentale, des arts vivants et de l'art vidéo, et ont reçu plusieurs prix et récompenses. Parallèlement à sa pratique artistique, elle est Maître de conférence dans le Master of Performance Practices à l'université ArtEZ, Arnhem (Pays-Bas) et, depuis 2016, elle est artiste en résidence à x-church, Gainsborough (Royaume-Uni).

In a hinterland within the “elsewhere” a lone character meanders in search of meaning and understanding. Hither and dither doth he wander reflecting upon all things that came before and all things hereafter. The work is a companion piece to “ttingâ” latest feature film LEK AND THE DOGS and was shot in the Atacama desert in Chile. Produced to run on a loop in a gallery “space” or as a single screen the film exemplifies “ttings ability to take an idea and run with it until it spills over into the expanded cinematic “elsewhere”. With the beguiling presence of French performance artist Xavier Tchili and sublime cinematography by Nick Gordon-Smith the work is designed to be experienced within the pitch black and the sound up high.

Andrew ‘tting was born between the mountains and the sea in Elmstead Woods in 1959. After some early forays into market trading and scrap-metal dealing he travelled to Scandinavia to become a Lumberjack. He returned home in the 80’s to study for a BA Honours Degree in Fine Art at Ravensbourne College of Art and Design and then graduated with a Masters Degree from The Slade, London. He currently lives and works between Hastings in England and Fougax-et-Barrineuf in the French Pyrenees. He teaches part-time at the University for the Creative Arts where he is Professor of Time Based Media. He has made numerous experimental short films, which were awarded prizes at international film festivals. Gallivant (1996), was his first feature film, a road/home movie about his four-month journey around the coast of Britain, with his grandmother Gladys and his daughter Eden, which won the Channel 4 Prize at the Edinburgh Film Festival for Best Director and the Golden Ribbon Award in Rimini (Italy). The film went on in 2011 to be voted number 49 as Best British Film of all time by the UK publication Time Out. In 2001 he directed the first of his Earthworks Trilogy; This Filthy Earth, in 2009 Ivul, and in 2018 Lek And The Dogs. All three films were released theatrically throughout the UK and France. As well as exhibitions of his work in the UK he has also presented retrospectives of his work in Belgium, France, Germany, Holland, Ireland and Switzerland. His twenty-eight year oeuvre to date has moved from early live-art inflected, often absurdist pieces, through darkly comic shorts teasing out the melancholy surrealism at the heart of contemporary Englishness to eight resolutely independent feature films that take biography, landscape and journeys as springboards into the making of visually striking and structurally inventive enquiries into identity, belonging, history and notions of the folkloric.

"Le léopard se couchera près du chevreau 
Le loup habitera avec l’agneau 
Et le jeune garçon lesconduira" 12 + 1 enfants et la carcasse d`une baleine échouée

Konstantina Kotzamani is a graduate student of Film Department of Fine Arts of Thessaloniki. Her short movies have participated in major International Festivals and have received several awards. Her film Washingtonia premiered in Berlinale 2014 and was nominated for the Golden Bear. Washingtonia participated in more than 120 International Film Festivals and in 2014 was awarded by the Greek Film Academy as the best Short Film. One year later Washingtonia received the EFA (European Film Academy) nomination for the best European Short. Konstantina Kotzamani was chosen to take part and present her work in Future Frames at the 50th Karlovy Vary Film Festival 2015 and at the same year, her short film Yellow Fieber premiered in Locarno Film Festival 2015 in international competition Pardi di Domani. Her last short film Limbo co- produced between Greek Film Centre and French CNC, premiered in Cannes , Semaine de la Critique 2016 and after that gained awards in many other International festival such as Palm Springs ( future filmmaker award) , Vila do Conde ( Best Fiction ) , Rio de Janeiro ( Best Short Film , Best director) ect.. Limbo was also nominated for the European Academy Awards 2016 as best European Short.

Washingtonia starts when the giraffes heart can no longer be heard. Washingtonia is an alternative name for Athens, a place where people, like animals, fall into summertime sadness because of the heat. Washingtonia is the only palm tree which heart is not devoured by the red beetle. Because its heart is small and dry and no one likes small and dry hearts.

Konstantina Kotzamani was born in Komotini in 1983. She has studied Pharmacy and then Cinema at Aristotle University of Thessaloniki, Department of Fine Arts. She has participated at Berlin and Sarajevo Talent Campus as a director. Her short movies have been selected in several International Festivals and have gained many awards.

Dans un village de Tchétchénie, une mère et une fille parlent du retour d'une connaissance.

Zaur Kourazov (né en 1994) a obtenu en 2019 son diplôme de la KASK – Académie royale des beaux-arts de Gand (Belgique), avec la mention très bien, pour son œuvre "Time Is" [2020]. Son travail s’intéresse à des thèmes tels que la mémoire, l'identité (culturelle) et les amitiés qui naissent dans un contexte interculturel. Comme il se sent lié à sa culture ethnique et à la culture assimilée, son travail se situe dans une position unique, explorant un "entre-deux", un espace très particulier où l'on comprend les deux mondes mais où l'on n’est adapté à aucun d'entre eux.

The daily life of migrants (Syrian, Kurdish, Pakistani, Afghani and other) in the camp of Idomeni, in Greece. People waiting in queues for food, tea and doctors; waiting to cross the border. One day, Europe closes the West Balkan Route for them once and for all. The «residents» of Idomeni decide, in their turn, to occupy the train tracks, blocking the trains that carry goods across the border.

Niki Giannari: Greek writer, born in 1968. Maria Kourkouta : Greek filmmaker born in 1982. She lives between France and Greece. Since 2008, she made several films, mostly on 16mm at different artist-run labs in France (such as L’Etna and L’Abominable) where she is still active as a member. Most of her films are distributed by Light Cone (Paris).

East of Paradise est le dernier volet de la trilogie Wild Wild East du réalisateur Lech Kowalski. Réalisé après The Boot Factory et On Hitler`s Highway, son nouveau documentaire est de loin le plus personnel. Dans la première partie d`East of Paradise il laisse la parole à Maria Werla Kowalsi, sa mère, qui évoque ses années de guerre. Avec une précision inédite et un sens naturel de la langue, elle conte sa déportation de Cracovie aux goulags soviétiques, survenue au début de la Seconde Guerre Mondiale. Madame Kowalski est convaincue que quiconque n`a pas vécu semblable drame, n`est pas à même de pleinement appréhender cette sombre période de l`histoire. Comme défié par la profondeur et la portée de l`horreur et de la tragédie vécues par sa mère, Kowalski plonge ensuite dans son propre passé mouvementé. Réutilisant des images d`?uvres antérieures (Gringo, Walter and Cutie, D.O.A.) dont la qualité contraste fortement avec celle, très nette, des images de sa mère, il montre les ghettos sociaux du porno et de la drogue. Les images de Lech renvoient à une existence marginale librement choisie, alors que le récit de sa mère est un hommage au désir de survie humain. Ce que raconte Lech n`est comparable au récit oppressant de sa mère que dans une mesure toute modeste. Toutefois, c`est précisément ce fossé infranchissable qui transforme la juxtaposition de deux mondes foncièrement différents en un double portrait aussi controversé qu`intrigant. East of Paradise a remporté, en 2005, le prix du meilleur Film Alternatif à la Mostra - Festival de Venise.

Lech Kowalski est issu d`une famille polonaise. Né à Londres, il grandit aux Etats-Unis. A l`âge de 18 ans il part pour New York où il découvre la musique punk, la drogue et le porno. Du point de vie cinématographique, Kowalski est tributaire de Shirley Clarke. Ses films sont générés par une réalisation fébrile, des enchaînements associatifs et des lignes de récit qui s`entremêlent. Parmi les documentaires antérieures de Kowalski, citons Sex Stars (1977), Death On Arrival (1978), Gringo ? Story of a Junkie (1985), Rock Soup (1991), Born to Lose (1999), Hey is Dee Dee Home (2002), Camera Gun (2003) et Charlie Chaplin in Kabul (2003).

Cette vidéo , qui fait partie de la série "In Art Dreams Come True", est une sorte de remake du clip de la chanson de Gwen Stefani "What Are You Waiting For?". Jouant avec les clichés de la féminité et de la masculinité, Kozyra endosse ici le rôle non d'une diva de l'opéra mais d'une popstar jouant une pompom girl dans un clip vidéo tourné dans les vestaires des hommes. Kozyra effectue le genre de danse et d'acrobatie de circonstances (la chorégraphie est de Anna Godowska), secouant ses pompons, vêtue d'une mini jupe blanche, et essayant d'attirer l'attention des athlètes masculins en train de se changer dans les vestiaires après l'entraînement. Parmi les chanteurs, on trouve des membres de l'équipe de la gallerie Zachêta. Dans ce bref clip vidéo, qui raconte une histoire de rébellion, Kozyra a inclus de nombreuses références à ces oeuvres précédentes.

Katarzyna Kozyra est née à Varsovie, en Pologne, en 1963. Elle a étudié les beaux-arts à l'université de Varsovie de 1988 à 1993. Elle travaille sur la réprésentation, la vidéo et l'installation vidéo. En 1999, elle a reçu la mention honorifique à la quarante-huitième biennale d'art visuel, à Venise. En 2003, elle a obtenu une bourse du Berlin artists program (DAAD). Elle vit à Varsovie, à Trente et à Berlin.

Melilla is a small spanish exclave on the North-African coast. A piece of Europe in Africa, a remnant of colonialism. A huge 12 km long fence here seperates rich Europe from the global South in order to keep away migrants seeking their fortune in Europe. Our films tells the story of three migrants who have made it across the fence. One foot on European soil, they wait for their papers or their final deportation. Opara is from Nigeria. For two years, he lives in the CETI detention camp at the outskirts of the city. He doesn´t want to indemnify with his situation and fights for the respect of the spanish population. He is an active member of the city´s small pentecostal church. Shahbaz from Pakistan lives in the camp for three years. Through his mobile phone, he organises a complex network of relationships to his family at home and to friends who already have reached Europe. The pictures and Hindi-Pop-Songs he has saved on his phone provide him an emotional connection to home. Ilham is from Morocco. Like many other Moroccans, she lives illegally in the city. For years, she fights for a legal status, lives on the street or stays occasionally with friends and does small jobs to survive.

Steffen Köhn Born on the 1st of December1980 in Kirchheimbolanden. Studies of social anthropology and film studies in Mainz and Berlin. Fieldwork and thesis on the West-african Videofilm-Industry. Since 2006 study of film directing at German Film- and Television Academy in Berlin. Paola Calvo Born on the 22nd of May 1980 in Caracas/ Venezuela. Media studies at Universidad Complutense Madrid. Since 2006 study of camera at German Film- and Television Academy in Berlin.

Une traversée hypnotique entre deux visions du futur et deux utopies, réalisée à partir de fragments du film monumental “Metropolis” (Fritz Lang, 1927) et du film culte des années 80 “Tron” (Steven Lisberger, 1982).

Thomas Köner a étudié à l’Académie de musique de Dortmund, et au CEM- Studio à Arnhem. Son travail s’intéresse principalement à la combinaison des expériences visuelles et auditives, et se développe sous forme d’installations, de concerts, de vidéos, de photographies et d’oeuvres multimédias. En 2000, il reçoit le “New Media Prize” du Montreal International Festival New Cinema New Media. En 2004, il reçoit le “Golden Nica” de Prix Ars Electronica, le “Produktionspreis WDR / Deutscher Klangkunst - Preis” (prix allemand d’art sonore). Son installation média “Suburb of The Void” a reçu le prix Transmediale 2005 à Berlin et a été présenté à la Biennale de Venise, au théâtre de La Fenice, en performance live. La vidéo “Nuuk” a reçu le Tiger Cub Award (meilleur court-métrage) au Festival International du Film de Rotterdam en 2005. Plusieurs musées importants ont acquis ses oeuvres audiovisuelles pour leur collection: notamment le Centre Pompidou, le Musée d’art contemporain de Montréal, la Comunidad de Madrid, le FRAC Limousin. En 2008, il participe à la Media Art Biennal de Séoul. En 2009, il reçoit le Prix MuVi au Festival international du film court d’Oberhausen. Thomas Köner est nominé pour le prix Nam June Paik en 2012.