Catalogue > Liste par artiste

Primate Colors traces humans and nonhumans joined in the flows of capital. It inquires into the life of Chungking Mansions, shuttle traders and commerce objects, which connect Hong Kong and the Pearl River Delta with Nairobi, Djibouti, Rotterdam and Elba. The film pursues and accelerates certain methods of ethnographic and anthropological filmmaking, although not explaining people’s actions, beliefs or norms. Instead it chooses to focus on affective components of events and actions. No claims are made about the life of others. To film and to follow affects does not mean to represent an idea or a subject in a narrative of contradictions, it rather asks to be mesmerized by materiality, by the forces of the running camera and the movement of things. When recording the capitalist reality of hyper-exploitation of human and nonhuman resources, one finds one’s own conditions not in the relations of production, but in disgraced facts, neglected aspects and ridiculed signs. Therefrom reality is understood as fundamentally strange, and filming becomes a form of assembling the bewildering and the obscure. Such a mode of filmmaking follows different grades of speed, light, temperature, rotation, friction, fall-off. The approach brings forth perceptions that emerge in relation to an environment, a territory or a color. In turn, images cannot be understood as exclusively belonging to human life, or culture, but are seen as produced and perceived constantly and everywhere by nonhumans and humans alike. Akin to crystals or snowflakes, which produce geometric configurations in response and in connection to their surroundings, images have their own experiences.

Elke Marhöfer: Born in the year of the goat in Baracoa/Cuba, Elke Marhöfer lives and works in Berlin. Via the potentialities of moving image and suppositious writing she works with notions of self-admitted foreignness and radical othering, revising notions of animals, vegetables and matter. Linking for example, the nonhuman with the postcolonial she discusses how nature cuts across notions of ‘history’ or ‘context,’ being simultaneously situated and at the same time continuously surpassing and escaping somewhat formatting. Her films tests inhuman perspectives, transducing a technology like the camera, from a human cultural and technical device into an extension of the intensive forces within the environment. Avoiding the enticements of a voice-over commentary or interviews, mastering or fracturing a subject, her films give space to a splintered narrative, and a disunited audiovisuality. They suggest rather a mode of place; an unfolding of what anyhow expresses itself, so that to film is to find form immanent to the situated action. She studied Fine Art at the University of the Arts in Berlin and spent a year at the School of the Art Institute in Chicago and at the Whitney Independent Study Program in New York City. Currently she pursues a PhD at the University of Gothenburg. Her films have been screened at the Berlinale Internationale Filmfestspiele Berlin, International Film Festival Rotterdam, Courtisane Festival Ghent and Images Film Festival Toronto. She received fellowships, grants, and generous support from IASPIS Residency Sweden, Akademie Schloss Solitude Stuttgart, Cité Internationale des Arts, Paris. Her art exhibitions include the Palais de Tokyo Paris, Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, NGBK Berlin, Kunstverein Hannover, Museum für Gegenwartskunst Siegen and The Showroom, London. Mikhail Lylov: Born 1989 in Voronezh/Russia, Mikhail Lylov is an independent artist and curator, he lives in Berlin. He worked in Moscow until 2010, where he developed non-disciplinary methods in his films, installations, performances and writings. His works establish or discuss the situations in which economic and knowledge models are questioned, renegotiated or rendered useless. Lylov’s work investigates a genealogy of the divide between mental and material in different contexts, especially labor and anthropology. On the affirmative side, his work looks for situations in which concepts become sensually available forms, or knowledge becomes a matter of perception. Mikhail Lylov’s projects were supported by Le Pavillon program at Palais De Tokyo in Paris, Cité Internationale des Arts, Paris, Berlinale Internationale Filmfestspiele Berlin and Houston Museum of Fine Arts.

Granting culture to the nonhuman world, the film “Shape Shifting” outlines a cartography of a particular landscape. A landscape, which can be found in many parts of Asia and in Japan is called “satoyama”, literally meaning “space between village and mountain”. This landscape is a membrane constructed by exchanges and encounters between non-human and human life. The agricultural and forestry productivity of this landscape is based on the increase of biodiversity of the ecosystem. The more collaborations between the species and the cycles of materials are created—the more stable ecosystem can be formed.

Mikhail Lylov was born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow, where developed interdisciplinary approach to his films, installations and performances which deconstruct traditional figures of knowledge and subject. In 2010 moved to Goteborg, Sweden to finish MA in arts. In 2013-14 participated in the Le Pavillon programme at Palais De Tokyo. Lives and works in Berlin. Elke Marhöfer was born in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from courtisane film festival, Ghent (Belgium) and Images Film Festival, Toronto (Canada), IASPIS Residency (Sweden), Akademie Schloss Solitude (Germany), Whitney Independent Study Program (US), Cité des Art International Paris (France). Art exhibitions include the FCAC Shanghai (China), Houston Museum of Fine Arts (US), Röda Sten Gothenburg (Sweden), Guangzhou Triennial (China) and in Germany the Museum für Gegenwartskunst Siegen, Sprengel Museum Hannover, Halle 14 Leipzig, Museum Morsbroich Leverkusen.

Since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past. ... Time consists of this split. G. Deleuze when we first met I was 20 years old... 00:07:29,752 --> 00:07:32,027 Vittoria from "L`eclisse" by M. Antonioni Nida is a small place situated at the Baltic`s coast of Lithuania, a former resort for soviet nomenklatura with peaceful sceneries and beautiful sand beaches. Despite the fact that nomenklatura has disappeared with the break of Soviet Union, idyll images of leisure still could be captured there. Post-soviet conditions, with it`s visually obvious overlapping of past and present, create a temporal paradox of constant deja vu. Probably this makes the local `actual` to become a glimmering instantiation of the most fundamental operation of time: a persistence of past which makes each present pass on. Images of past (modernist architecture of the rest house) and images of present (shots from the city center area) are juxtaposed to each other like virtuality and actuality, documenting and staging, acting for a camera and mundane activity. The 70`s architecture of anticipation of the future meets present in a figure of a video camera.

Mikhail Lylov Born in 1989 in Russia, Voronezh. Studied Economics in Voronezh state university. In 2008 in cooperation with other artists co-established Voronezh CCA. In 2008 moved to Moscow, studied in ICA Moscow and was developing personal artistic practice as well as participating in collaborative projects. In 2010 moved to Goteborg, Sweden to finish MA in arts. Live and work in Goteborg. Paul Hage Boutros Born in 1982 in Lebanon, Beirut. Studied Mechanical Engineer in American University of Beirut. Worked and developed own practice with video and mixed media; since 2006 I?ve been  producing several art works in collaboration with other artists. In 2010 moved to Goteborg, Sweden to finish MFA. Participated in sdifferent group exhibition between Sweden and Lebanon. Lives and works in Goteborg.

Collider Games, en association avec Showtime, présente Twin Peaks VR experience. Conçue en collaboration avec David Lynch et son équipe pour recréer fidèlement le monde de Twin Peaks, l'expérience de RV immersive combine surnaturel, aventure et escape game, mettant le joueur au défi de résoudre des énigmes et d'explorer des environnements très élaborés, pour la première fois en réalité virtuelle. David Lynch déclare à propos de l'expérience RV : "Le monde tridimensionnel de la VR de Twin Peaks donne lieu à une expérience en 10 dimensions". Les joueurs peuvent revisiter plusieurs lieux de la série télévisée iconique, notamment la Salle rouge, le bosquet de Glastonbury, le bureau du shérif, les boîtes de verre d'observation et bien d'autres encore.

Le cinéaste et scénariste David Keith Lynch est né en 1946 dans le Montana, aux États-Unis. Son ambition première était de devenir peintre et, après avoir obtenu son diplôme de fin d’études secondaires en Virginie, il s’est inscrit à l’école du musée des Beaux-Arts de Boston. Plus tard, il a étudié à l’Académie des Beaux-Arts de Pennsylvanie. Il y réalise son premier film, une animation de 60 secondes intitulée Six Men Getting Sick (1967), pour un concours de peinture et de sculpture expérimentales. En 1970, Lynch devient étudiant au Center for Advanced Film Studies de l’American Film Institute (plus tard le Conservatoire AFI), où il commence à travailler sur son premier long métrage, Eraserhead (1977). Après le succès d’Eraserhead sur le circuit des films de minuit, Lynch est engagé pour réaliser le film biographique The Elephant Man (1980), qui lui vaut un succès grand public. Il est ensuite employé par le groupe De Laurentiis Entertainment et réalise deux films : l’épopée de science-fiction Dune (1984), qui se révèle être un échec critique et commercial, et le film policier néo-noir Blue Velvet (1986), qui suscite d’abord une controverse sur sa représentation de la violence, mais dont la réputation s’accroît par la suite jusqu’à ce qu’il soit acclamé par la critique. Lynch a ensuite créé sa propre série télévisée avec Mark Frost, le populaire roman policier Twin Peaks (1990-1991), qui a été diffusé pendant deux saisons. Il a également créé la préquelle du film Twin Peaks : Fire Walk with Me (1992), le road-movie Wild at Heart (1990) et le film familial The Straight Story (1999) à la même époque. S’orientant davantage vers le cinéma surréaliste, trois de ses films ultérieurs ont fonctionné sur des structures narratives non linéaires à logique onirique : Lost Highway (1997), Mulholland Drive (2001) et Inland Empire (2006). Entre-temps, il a adopté Internet comme média et a produit plusieurs émissions en ligne, comme la série animée DumbLand (2002) et la sitcom surréaliste Rabbits (2002). Lynch et Frost se sont retrouvés en 2017 pour une troisième saison de Twin Peaks, diffusée sur Showtime. Lynch a co-écrit et réalisé chaque épisode, tout en reprenant son rôle à l’écran dans le rôle de Gordon Cole. En plus de l’écriture et de la réalisation, Lynch a souvent servi de concepteur sonore et a écrit la musique de ses films. Il a également continué à s’exprimer en tant que peintre, photographe et artiste d’installation.

A film about snow outside the window, tractors in convoys, children learning and breathing.

Magnus B. B. Lysbakken is a writer, director and cinematographer, working in the intersection between fiction, documentary. He started his career in the Danish film industry, where he made his screenwriting debut with the feature film «Lovers» in 2017, directed by Niels Kaa. In 2022 he graduated from the Norwegian Film School with a master’s degree in Directing Fiction, specializing in combining film production with social outreach. He also holds a BA in Film Science and a BA in Comparative Literature from the University of Copenhagen. Magnus’ films explore the social dynamics of small communities, with a special emphasis on the interactions between children and adults.