Catalogue > Liste par artiste
Parcourez la liste complète des artistes présentés dans le cadre des Rencontres Internationales depuis 2004. Utilisez le filtre alphabétique pour affiner vos recherches.
Avi Mograbi
Catalogue : 2010Details 11, 12, 13 | Vidéo | dv | couleur | 12:0 | Israël, Israel | 2009
Avi Mograbi
Details 11, 12, 13
Vidéo | dv | couleur | 12:0 | Israël, Israel | 2009
2 scenes shot in a car driving in the occupied territories. Israeli Human Rights journalists on their way to a story. In one scene they ask themselves if they should continue driving down the road because the locals say there is an Israeli tank shooting at whoever comes near it. In the second scene they detect the Istraeli military post where they were shot at from a few months earlier. In the third scene the IDF orchestra plays a happy march.
Avi Mograbi, filmmaker and video artist. He is the director of: Details 11-13 (2009), Z32 (2008), Mrs. Goldstein (2006), Avenge but one of my two eyes (2005), Detail (2004), August (2002), Wait, it?s the soldiers, I`ll hang up now (2002), At the back (2000), Will you please stop bothering me and my family (2000) Relief, (1999), Happy Birthday Mr. Mograbi (1999), How I learned to overcome my fear and love Arik Sharon (1997), The reconstruction (1994), Deportation (1989).
Naeem Mohaiemen
Catalogue : 2017Abu Ammar is Coming | Vidéo | hdv | couleur et n&b | 6:0 | Bangladesh, Royaume-Uni | 2016
Naeem Mohaiemen
Abu Ammar is Coming
Vidéo | hdv | couleur et n&b | 6:0 | Bangladesh, Royaume-Uni | 2016
A photograph circulates, showing five men staring out of a window. Actually, only four look out; the last man breaks protocol and looks at the camera. The light has a soft glow. The stage is a bombed building. All five men wear military fatigues; the color must have been olive green.Snapped by a Magnum photographer in 1982, the image is a teasing enigma. Arabic newspapers claim it as evidence of Bangladeshi fighters in the PLO (Fatah faction). Go a little deeper into the memory hole and sediments will darken the third world international. Still, the light was beautiful. Abu Ammar is Coming continues The Young Man Was project’s exploration of the 1970s revolutionary left as a form of tragic utopia. Previous chapters have shown at the 2015 Venice Biennale, the Museum of Modern Art (New York), and the 2011 Sharjah Biennial.[Abu Ammar was the nom de guerre of Yasser Arafat. His Fatah faction of PLO fascinated Bangladesh JSD (National Socialist Party) leader Major Jalil, despite the sharper Marxist tendencies of the George Habash faction.] Picture credit: Volunteers from Bangladesh fighting with Palestinians, 1982 © Chris Steele-Perkins / Magnum Photos The Young Man Was project examines the failures of radical, armed leftist movements of the 1970s. The protagonists often display misrecognition, ending up as an “accidental trojan horse” carrying tragic results to the countries in question (from Japanese hijackers commandeering Dhaka airport for “solidarity,” to migrant labor pipelines transformed into PLO “volunteers”). In spite of its failures, Mohaiemen’s reading of the potential of international left solidarity is still, always, one of hope. The first part (United Red Army, 2011) reconstructs the 1977 hijacking of Japan Airlines Flight 472 through a series of crisply polite negotiation tapes. The second film (Afsan’s Long Day, 2014) addresses the misrecognition of Marxist ideologies from the perspective of a young historian (Afsan Chowdhury, whose diary entry gives the series its name), slaloming between Bangladesh’s summer of tigers, and the German Autumn associated with the Rote Armee Fraktion. The third film (Last Man in Dhaka Central, 2015) traces, in reverse, the journey of Peter Custers, a Dutch journalist jailed in Bangladesh in 1975, accused of belonging to an underground armed Maoist group. A more recent short film, Abu Ammar is Coming (2016), digs into the illusions of a press photograph of “PLO fighters” taken by Chris Steele-Perkins for Magnum. In the form of Peter Custers, who unfortunately passed away in 2015, many of the questions of The Young Man Was project take a personal form. What lies behind utopian hope, especially within the idea of socialism, against the weight of history and experience? What also of the men who survived those terrible times, unlike so many of their comrades, and now spend their waning days in solitary apartments, writing down memories? What was such a man then, and how does he remember himself today? Was he John Reed, recording the Russian Revolution, in the last free moment before the Thermidor? What does it mean to be a survivor and witness—the last man standing on the eve of another collapse, surveying the wreckage of the socialist dream in the middle of a horrific present that teeters on the cusp of the Anthropocene?
Naeem Mohaiemen is a writer and visual artist. Since 2006, he has worked on "The Young Man Was," a series of projects on the 1970s radical left. The first two films in this sequence are "United Red Army" (2012), which premiered at Sharjah Biennial, IDFA, and Hot Docs, and "Afsan`s Long Day" (2014), which premiered at MoMA, New York, and Oberhausen. He is researching the third installment, "Last Man In Dhaka Central" (2015). The project has been supported by grants from Creative Capital, Creative Time, Franklin Furnace, Rhizome, Puffin Foundation, and Arts Network Asia. He is a 2014 Guggenheim Fellow. The works are also in private collections, as well as the permanent collection of the Tate Modern and the British Museum.
Paribartana Mohanty
Catalogue : 2016Notes on detour and Potentiality | Fiction expérimentale | hdv | couleur | 4:14 | Inde | 2015
Paribartana Mohanty
Notes on detour and Potentiality
Fiction expérimentale | hdv | couleur | 4:14 | Inde | 2015
Walking towards the commemorative obelisk, the memorial of establishing Delhi as capital of British India, We trace passed the land exactly 101 year after the coronation celebrated there. Nostalgic about the moment in history simultaneously relaxed due to its ruined state, all of our cameras started shooting the actor, unknown character and new encounters. The documented images showed intense moments of repetition and reappearances, where we expose cameras to ourselves in different position, composition and perspective. The video plays with the idea of echo in repeated intervention, engagement and performative ordinary gestures. The cinematic time in loop becomes a still image of walking, looking and hearing as rehearsing, acting bodies and a resurrected site.
SOLO EXHIBITION 2012 Kino is the Name of a Forest, Solo Exhibition, Vadehra Art Gallery, New Delhi, India EXHIBITIONS 2015 Kochi Biennale Foundation Young Curatorial Award-Fellowship 2016/2017 on the KBF Student’s Biennale. 2015 BLAST! ASIA NOW, Stand SP1, Espace Pierre Cardin, 1 Avenue Gabriel, 75008 Paris. 2015 59th BFI London Film Festival, curated by William Fowler London, United Kingdom. 2015 Rendez-vous Singapour Exposition, Institute of Contemporary Art Singapore. 2015 Undivided Mind Part- ii, Art + Science Exhibition, Curated by Lieah Smith, KHOJ international Artist Association, New Delhi, India 2015 Forever Now, Curated by Willoh S. Weiland, Brian Ritche, Thea Baumann and Jeff Khan, Aphids Epic Contemporary Project, Mofo, Hobart 2014 TokyoStory Part- ii, Tokyo Wonder Site, Shibuya, Tokyo, Japan 2014 Field Trip Project, Curated by Daisuke Takeya, Tokyo, Japan 2014 Insert- Common Ground Curated by Raqs Media Collective, IGNCA, New Delhi India 2013 Rendez-vous 13, Institute of Contemporary Art Lyon, Lyon, France 2013 Ideas of the Sublime curated by Gayatri Sinha, Rabindra Bhawan, New Delhi, India 2012 Sarai Reader 09: Exhibition, Curated by Raqs Media Collective, Devi Art Foundation, Gurgaon, India 2012 Video Wednesday II, Curated by Gayatri Sinha, Gallery Espace, New Delhi 2012 Broadening the Canvas: Contemporary Visual Culture of Alternate Sexuality, Curated by Rahul Bhattacharya, Part of Kolkata Rainbow Pride Festival, Kolkata 2012 In Other Words, Sarai-CSDS, New Delhi 2011 Regards Croisés: A Selection of Asian Contemporary Art, Art Plural Gallery, Singapore 2011 Collective Metamorphosis, Curated by Kapil Chopra, Nature Morte, New Delhi 2011 To be continued… The FICA Group Show, Curated by Bhooma Padmanabhan, Volte Gallery, Mumbai 2011 Hong Kong Art Fair, works presented by Nature Morte 2011 Outset Inaugural Exhibition, co-ordinated by Peter Nagy and organized by Feroze Gujral, New Delhi 2010 Drifiting Still, Curated by Rahul Bhattacharya, Art Konsult, New Delhi 2010 ARTIST + NATURE = ART The Sandarbh Workshop and residency. The Lahori Forest, Dadra Nagar & Hawali (UT) India 2010 Present is Now, Curated by Peter Nagy, Bestcollegeart.com 2010 City as Studio: EXB 10.04, Sarai, CSDS, New Delhi. 2010 City as Studio: EXB 10.01, curated by Iram Ghufran and Amitabh Kumar as part of ‘Ten Years of Sarai’, Sarai, CSDS, New Delhi (Feb 15 – March 10) 2010 Renewed Intensity, Curated by Jagannath Panda, B K College of Art, Bhubaneswar 2010 Drifters, Curated by Rahul Bhattacharya, Gallery Beyond, Mumbai (as part of Kala Ghoda Arts Festival, February) 2009 Drifters, Curated by Rahul Bhattacharya, Art Konsult, New Delhi (18 Dec – 10th Jan) 2009 Fantasy, Curated by Sunil Gupta and Gautam Bhan, Nigah Queer Festival, Max Mueller Bhavan, New Delhi. AWARDS / RESIDENCIES 2015 Kochi Biennale Foundation Young Curatorial Award- 16-month Fellowship 2016/2017 on the KBF Student’s Biennale. 2015 T.A.J. RESIDENCY & SKE PROJECTS, Bangalore, India 2015 Undivided Mind- Part II, Art + Science One Month Residency at KHOJ, KHOJ International Artist Association, New Delhi, India. 2014 Writing Intensive, Kiran Nadar Museum of Art, Noida, New Delhi 2014 International Creator Residency Program 2013, Tokyo Wander Site, Tokyo, Japan 2013 An Anatomy and Politics of Video Art, A workshop by Marcel Odenbach, Kolkata, India 2011 Three-months residency hosted by Stadt galerie, Bern (Switzerland) in collaboration with Pro Helvetia (Swiss Arts Council) and FICA 2010 Sandarbh Artists Residency, Dadra Nagar and Havelli 2010 EMERGING ARTIST AWARD, Foundation of Indian Contemporary Art (FICA), New Delhi 2010 Awarded ‘the City as Studio’ – Sarai-CSDS Media Lab Associate Fellowship for Contemporary Art and Media Practices and Residency
Thomas Mohr
Catalogue : 2023St. Marien | Vidéo expérimentale | mov | couleur | 10:58 | Pays-Bas, Allemagne | 2023
Thomas Mohr
St. Marien
Vidéo expérimentale | mov | couleur | 10:58 | Pays-Bas, Allemagne | 2023
What role does childhood play in developing experience? How are personal present and past connected in the process of aging? The longing for the places of the personal past was the reason for a trip to Flensburg in 2001 a few weeks before 9/11. More than 2000 photos were taken in just a few days. It was only many years later that the negatives were digitized and it was only more than 20 years later that the need to process these recordings into a composition arose. The turbulent German-Danish history on both sides of today's border and the places of childhood come together in a whole where the past merges into one experience in the now. 3636 images are processed frame by frame in the first 3 movements. Each movement is containing 24 sequences of stills. The amount of images in the stills increases from 4 to 625 images simultaneously. After the first 3 movements the process is repeated towards the infinite to end in structures similar to the layers one would find in rock formations.
Thomas Mohr is exploring processes of perception and memory systematically in performance, painting, video, installations. From 1985 onwards a growing archive containing more then 600000 pictures regarding a wide range of events of transition from a collective meaning to very personal moments. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin, Projects with music at Stedelijk Museum, Orgelpark Amsterdam, Edith Russ Haus Oldenburg, CCAM / Scène Nationale de Vandœuvre. Michael Bonaventure , based in Edinburgh & Amsterdam, is composer, organist and collaborator in new and experimental music projects; Extended cyclic works predominate in his output including huge body of electronic and electro-acoustic pieces as well as instrumental and organ music. From a sonic universe deriving its inspiration from mysticism and ritual, natural and imaginary worlds, astronomical and supernatural phenomena.
Catalogue : 2021Habitat 2.4 | Film expérimental | mov | couleur et n&b | 20:24 | Pays-Bas | 2020
Thomas Mohr
Habitat 2.4
Film expérimental | mov | couleur et n&b | 20:24 | Pays-Bas | 2020
"Habitat 2.4" est la première collaboration entre le vidéaste Thomas Mohr et le compositeur Reinier van Houdt. Thomas Mohr traite plus de 7000 photos prises à chaque instant pendant ses explorations des quartiers de Noisy-le-Grand, Nanterre et Paris dans le cadre d'un projet plus vaste sur l'expérience de l'espace public début 2019, juste avant le premier confinement. Reiner Van Houdt utilise du "found sound" provenant de situations et d'appareils qui transcendent la distance, comme les trains, les radios, les télévisions, les satellites de la NASA, le réseau électrique, les téléphones portables, les oscillateurs - tous captés à la frontière entre la nature cyclique des sons stationnaires ou "gelés", et les sons transitoires du mouvement rapide. Dans "Habitat 2.4", au premier niveau de traitement, Mohr compose et structure son matériel photographique dans un système temporel qui se rapproche à bien des égards de la mesure habituelle du temps, mais qui est plus dynamique. L'expérience du moment présent, avec son avant et son après, la transformation du présent en passé, est réassemblée de manière répétitive dans une structure de cadres, de séquences et d'unités. Reiner Van Houdt a composé des structures rigides et fermées, et a peuplé cette architecture de blocs sonores complexes créés à partir de sons trouvés, qui déforment, réarrangent ou ravagent sa structure, pour montrer la glorieuse impossibilité de contenir la matière sonore - comme un défi à la contingence.
Thomas Mohr : Mouvement, changement, transformation, expérience. Exploration systématique des processus de perception et de mémoire depuis la fin des années 80. Depuis 1985, il construit une archive encore en expansion, composée de plus de 600000 photos - concernant un large éventail d'événements de transition, s’étendant d'un sens collectif à des moments très personnels – ainsi que des milliers de captures d'écran tirées de médias sociaux. Il vit et travaille à Amsterdam (Pays-Bas), et est distribué par LIMA. Depuis 2009 son travail a été projeté dans divers festivals, notamment au Festival international du film de Rotterdam (Pays-Bas); au JMAF – Japan Media Art Festival, Tokyo (Japon); à Ars Electronica, Linz (Autriche); à la Transmediale, Berlin (Allemagne); au Japan Media Arts Festival (Japon); au NeMaf – Seoul International New Media Festival, Séoul (Corée du Sud); au IKFF – Internationales Kurzfilm Festival Hamburg, Hambourg (Allemagne); au Jihalva International Documentary Film Festival, Jihalva (République tchèque); au HAFF – Holland Animation Film Festival, Utrecht (Pays-Bas); à la Media Art Biennale Wro, Wroclaw (Pologne); aux Rencontres Internationales Paris/Berlin (France/Allemagne); au European Media Art Festival, Osnabrück (Allemagne); et à Berlin Atonal (Allemagne). Reinier van Houdt est compositeur/musicien. Il vit à Rotterdam (Pays-Bas). Il utilise le piano, des objets et le field recording. Il a développé une fascination pour les matières qui échappent à la notation: le son, le timing, l'espace, la physicalité, la mémoire, le bruit, l'environnement - des éléments qui vont au-delà de la composition, de l'interprétation et de l'improvisation. En dehors de son propre travail, il a collaboré avec Robert Ashley, Annea Lockwood, John Cage, Alvin Curran, Michael Pisaro, Francisco Lopez, Alessandro Bosetti, Christian Marclay et Luc Ferrari. Il a donné des performances au festival CTM Berlin (Allemagne); au Meltdown London, Londres (Royaume-Uni); à Alternativa Moscow, Moscou (Russie); au festival AngelicA, Bologne (Italie); au Huddersfield Contemporary Music Festival, Huddersfield (Royaume-Uni); au festival Unsound, Cracovie (Pologne); à Art Basel Hong Kong (Chine); et au Primavera Sound Festival, Barcelone (Espagne). Reinier van Houdt fait également partie du groupe de David Tibet, Current 93, et a travaillé avec Takashi Makino sur son film "Memento Stella".
Catalogue : 2020Matters of Time | Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2019
Thomas Mohr
Matters of Time
Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2019
From Berlin to Hiroshima, from Hiroshima to Berlin. From Past to Now, from Now to Past. Connecting events, remembering the suffering of war and new beginnings. Observations. 7 identical defined time units each containing a series of 24 progressing intervals of shifting box systems descending from 25x25=625 to 2x2=4 images. The construction of each unit is exactly the same, the content of each unit is entirely individual. Walking through a winter night in Berlin, going from Miyajima island to Hiroshima, the experience of My Facebook Timeline Having devastating destruction in mind and reconstruction. Straight forward, up side down, rotating. Positive, negative. Complex layers, more complex layers. Text, subtext.
Biografy: Moving, changing, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing archive containing more then 500000 pictures and thousands screenshots regarding a wide range of events of transition from a collective meaning to very personal moments. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin
Catalogue : 2017Impact-9.2 | Vidéo | hdv | couleur et n&b | 10:44 | Pays-Bas | 2016
Thomas Mohr
Impact-9.2
Vidéo | hdv | couleur et n&b | 10:44 | Pays-Bas | 2016
After a moment of brightness, a memory unit containing 59.049 images is explored from the totality to its individual images, creating connections on various levels in various directions in a shifting dynamic system. Beginning with a sudden and rough recall of memories the information merges with increasing compression in several cycles and repetitive feedback to transform in an almost ad infinitum expanding time space topology of intense subtlety. The visual composition is inverted and disrupted several times by visual blanks of bright white. The original images were taken handheld in 2002/3 when the experience of 9/11 still was present. The composition is made frame by frame using “contact sheets” (6, 5 fps). The integration of the outdated format SD in the more contemporary HD leaves empty space in the memory levels and in the processing levels. The memory unit used in this video is the second out of nine units, which will become one total memory at a later stage covering 30 years from 1985 to 2015. The music composed by Michael Bonaventure (organ sounds) and René Baptist Huysmans (electronic sounds) is inspired by the poem “The Comet at Yalbury” by Thomas Hardy ?
Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures taken from 1985 regarding important moments of modern history as to major and minor personal events.
Maria Mohr
Catalogue : 2007Cousin cousine | Doc. expérimental | super8 | couleur et n&b | 19:32 | Allemagne | 2005
Maria Mohr
Cousin cousine
Doc. expérimental | super8 | couleur et n&b | 19:32 | Allemagne | 2005
Cousin et cousine, un espace sans paroles. Une voix au piano. Au bout des doigts, le sens. Un pont, trop haut. Cousin Cousine est un film personnel entre témoignage et poésie. Sur un amour impossible.
Maria Mohr est née en 1974 à Mainz, en Rhénanie. Elle a étudié le français et l'architecture à Paris et à Darmstadt. Depuis 1998 Maria Mohr vit à Berlin. Elle a contribué à divers projets indépendants de théâtre et de danse et a travaillé en parallèle dans le domaine du cinéma, de la vidéo et de la photographie. De 2002 à 2005 elle étudie le film expérimental à l'université des arts de Berlin. Son film de fin d'études "Cousin Cousine" est présenté depuis dans des festivals nationaux et internationaux et a remporté de nombreux prix, dont le prix du court-métrage allemand en 2005. Actuellement Maria Mohr travaille sur un film documentaire long.
Thomas Mohr
Catalogue : 2016Zu Hanne Darboven | Vidéo | hdv | couleur | 8:27 | Pays-Bas | 2014
Thomas Mohr
Zu Hanne Darboven
Vidéo | hdv | couleur | 8:27 | Pays-Bas | 2014
Is it possible to understand the work of the artist and composer Hanne Darboven (1941 - 2009) famous for her large scale installation containing thousands of drawings and notes? The project Zu / On Hanne Darboven is an exploration of herless known music in relation to her visual oeuvre. Abschliessend (In conclusion) is based on 1853 pictures handheld taken- as meticolous as possible - very close to the details of the works in the last space of the exhibition “The order of time and things. The home studio of Hanne Darboven” organised by the Museo Nacional Centro de Arte Reina Sofía and the Deichtorhallen Hamburg - Sammlung Falckenberg in collaboration with the Hanne Darboven. The music is the last part of Hanne Darbovens Requiem recorded in eleven volumes. The pictures are processed in still compositions frame by frame in a series of cycles increasingly compressing the original information.
Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures regarding major and minor personal and historic events. Main themes recently the reverberation of historic incidents and and the intertwined relations of culture. Thomas Mohr’s particular way of composing films since 2008 begins with smallest elements - taking single images. This material is processed in repetitive steps to higly compressed structures where the visual properties are almost dissolved. Since 2010 works specifically related to the body of work of Hanne Darboven. Now working on constructing an episodic memory covering the information of 30 years (1985-2015).
Ahmed Mohsen Mansour
Catalogue : 2017No Time for Video | Vidéo | hdv | couleur | 2:40 | Egypte | 2016
Ahmed Mohsen Mansour
No Time for Video
Vidéo | hdv | couleur | 2:40 | Egypte | 2016
Time is the main determinant of the events, a dimension that defines the place of an object in the vast space More specific manner rather than relying on the three main dimensions (length - width - height) where you can not any event in the universe characterization without the addition of a fourth dimension. Thus, the movement of objects may be a relative change with time, and the concept of time is no longer a constant.
Ahmed Mohsen Mansour. Visual Artist born in October 1987, lives between Saudi Arabia and Egypt. Graduated from Faculty of Applied Arts- Advertising department, Recently I preparing MFA degree in Faculty of Fine arts – Graphic department- entitled “Installation Art as an Access to the Three Dimensional Ads Design”. Participated in several exhibitions and workshops in the fields of video, photography and animation in Cairo, Alexandria, London, Italy, Germany, France,Slovakia,Spain, Emirates and Saudi Arabia. Had a three experiments in the theatre field where I worked as an actor and assistant director in “The Hunchback of Notre Dame” and “The Ghosts," They are two theatre shows produced by “Woshosh” theatre group, also worked as a scenographer in “Inside the Mirror," another play produced by the same group.
Fernando Moletta
Catalogue : 2023Eu, que ignoro tantas coisas, sei que ignoro uma a mais | Vidéo | 4k | couleur | 10:0 | Brésil | 2022
Fernando Moletta
Eu, que ignoro tantas coisas, sei que ignoro uma a mais
Vidéo | 4k | couleur | 10:0 | Brésil | 2022
The videoart “I, who ignore so many things, know that I ignore one more" is based on a short story by Brazilian writer Vilma Aguiar. The film aims to ponder between decisions, choices, and mistakes in order to understand the present and project the future through observations about the past, as the misunderstandings resulting from a time full of certainties led us to a hazy and fluctuating period between apathy, anesthesia, post-truth, torment, endless work-fun, euphoria, and fervor. Thus, aware of the yes and no, we could let ourselves be carried away by oscillations, abuse time, and get lost in it, in a lucid labyrinth.
Fernando Moletta is a visual artist and researcher (FBAUL). He holds a Master's degree from the Faculty of Fine Arts of the University of Lisbon. His artistic practice arises from an exploration of the challenges posed by modernism in contemporary times. Through an examination of temporal concepts and their intersections, he delves into the themes of failure, biopolitics, allegorical plasticity, and technological noise. These notions manifest as specters, hovering and intertwining to form a hybrid body of work that encompasses video, sculpture, and drawing. His recent exhibitions include solo shows such as "Three Sad Flawed" at the Gallery of the Faculty of Fine Arts of the University of Lisbon and "O que há entre o acima e o abaixo?" at the Museum of Art of Blumenau (Brazil), as well as group exhibitions including the 14th International Biennial of Contemporary Art in Curitiba (Brazil), "Drifting Time Misplaced" at Mono (Lisbon), "New future" at Industra (Brno, Czech Republic), and the 50th Contemporary Art Salon Luis Sacilotto (Santo André, Brazil). He has also participated in video and cinema festivals such as "Caminhos do Cinema Português" (Coimbra, Portugal) and the 36th Stuttgarter Filmwinter - Festival for Expanded Media (Stuttgart, Germany). He has taken part in artistic residencies at Duplex AiR (Lisbon) and Stalker/Mattatoio (Rome). His work has received awards and is part of the institutional collection at the Museum of Art of Goiânia (Brazil).
María Molina Peiró
Catalogue : 2020The Sasha | Film expérimental | 4k | couleur | 20:0 | Espagne, Pays-Bas | 2019
María Molina PeirÓ
The Sasha
Film expérimental | 4k | couleur | 20:0 | Espagne, Pays-Bas | 2019
On 1972 the astronaut Charles Duke landed on the Moon on the Apollo XVI. He was in charge of taking photos of the lunar surface with a high-resolution camera. ‘The Sasha’ is a film about the human perspective on Earth and our constant struggle with our temporal and spatial limitations. From the exploration of space to cyberspace, from an analogue Moon in 1972 to a virtual Moon in Google Earth today. A story about parallel universes where eternity seems to be lost between frames and interfaces.
María Molina Peiró is a Spanish audiovisual artist, filmmaker and researcher. Her film and installations explore layered realities that connect humans, technology and nature. She is particularly interested in memory systems (from geology to digital memory) and the relation between cinema and science. Her work has been shown internationally both in art venues and film festivals such as International Film Festival Rotterdam IFFR, Rencontres Internationales, BFI London Film Festival, Haus der Kulturen der Welt, International Film Festival Oberhausen, Louvre Museum, EYE Film Museum, ISEA Korea, Indie Lisboa International Film Festival, Washington National Gallery, London Science Museum, MACBA, National Museum of Modern and Contemporary Art (MMCA) Seoul, CCCB, Sevilla European Film Festival (SEFF), LOOP Videoart Festival, VIS Vienna Shorts, Hong-Gah Museum (Taipei), MATADERO (Madrid), Vilnius National Gallery, Taiwan Video Art Biennale, NABI Art Center, or Museum of Contemporary Art of Vojvodina amongst others. María holds a BA in Fine Arts from the University of Sevilla and graduated Cum Laude from the Master of Film at the Netherland Film Academy, where she is a current lecturer. Molina Peiro’s work has been supported and awarded in the last years with grants like Amsterdam Funds for the Kunst (3 Package Deal), AHK (Amsterdam University of the Arts) Award for Best Master´s project, Aesthetica Art prize (UK), Bloom Awards (Germany) among others. María Molina Peiro´s has participated recently in residency programs at Museum Quartier Vienna and Santa Fe Art Institute.
Catalogue : 2019One Year Life Strata | Installation vidéo | hdv | couleur | 0:0 | Espagne, 0 | 2018
María Molina PeirÓ
One Year Life Strata
Installation vidéo | hdv | couleur | 0:0 | Espagne, 0 | 2018
During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an online archive that instead of "remembering" creates a creative forgetting of the vast photo archive. One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital images into what is likely the ultimate memory trace that will remain from us: The geological record. The project, in a sort of digital geology, mines the data from the strata and invite viewers to investigate one year of Maria Molina's life through an AI vision system, not concerned about personal memories but the collection of patterns and numbers they contain. In a society obsessed with recollection, data and monitoring One Year Life Strata addresses the disturbing territory of forgetting. Today that we have the tools to remember and archive almost everything, forgetting has become a term very close to death raising very similar fears. One Year Life Strata wants to overcome this fear and embrace forgetting in a game of time scales, where the speed of Digital Time is buried into a time difficult for us to grasp, the slow Deep Time.
María Molina is an audio-visual artist and filmmaker with a background in fine arts. She works in an open format mixing film, digital media and experimental animation. María Molina´s films and art works have been showcased in international museums like Haus der Kulturen der Welt (Berlin), EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Hong-Gah Museum (Taipei), Centre de Cultura Contemporània Barcelona (CCCB), MATADERO (Madrid) or Museum of Contemporary Art of Vojvodina (Serbia) among others. Her works has been featured in festivals like Rotterdam Film Festival, Art Futura (Barcelona), Taiwan Video Art Biennial, MADATAC (Madrid), VISS (Vienna International Film Festival) or Forecast Forum (Berlin). In her work she explores the increasingly blurred boundaries between material and digital realities. She is particularly interested in the convergences between different memory systems (from Geology to Digital Memory) and how the ubiquity and pervasive nature of Digital Technology is reframing our spatial and temporal perspective. Her films and installations often use metafiction, postproduction and geo-tools to unfold layered realities that connect humans, technology and nature. Her current research focuses on humanity's constant struggle with its temporal and spatial limitations, and how this struggle has driven civilisation and technology to change our relation with nature, time and our understanding of life itself.
Mercedes Molla Marfil
Catalogue : 2010Normal envy | Vidéo | dv | couleur | 1:8 | Belgique | 2009
Mercedes Molla Marfil
Normal envy
Vidéo | dv | couleur | 1:8 | Belgique | 2009
I am in a supermarket. Instead of buying the products I need, I buy that ones that the others want. Does a product taste better when is desired by the others? A supermarket is a very common place in our daily life which represents well today`s capitalist system. Through my action I attempt to confront the idea of consumer choice and desire. Transcending the comic or quirky, the video promotes the possibility of a critical engagement with consumer values and cultural behaviour. It has without being propangandist a political agenda.
Mercedes Mollá (b. 1980, Valencia) received a Postgraduate Diploma in Fine Arts at Chelsea College of Art and Designed, University of the Arts in London. Studied her BA at Facultad de Bellas Artes de San Carlos in Valencia .With the Erasmus scholarship she studied six months at Winchester School of Art,UK. Recent solo exhibitions include Matuvu gallery, Brussels, Art Below, London; Imprevisual gallery, Valencia. Group exhibitions include Canvas Collectie , gallery on line ,Belgium; Really London?s gallery; Galeria de arte Kessler-Battaglia, Valencia. Mercedes is currently based in Brussels.
Christine Molloy, Christine MOLLOY
Catalogue : 2012Civic Life: Tiong Bahru | Fiction | 35mm | couleur | 19:55 | Irlande, Singapour | 0
Christine Molloy, Joe LAWLOR
Civic Life: Tiong Bahru
Fiction | 35mm | couleur | 19:55 | Irlande, Singapour | 0
TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)
Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.
Catalogue : 2006Moore Street | Fiction | 35mm | couleur | 5:35 | Irlande | 2004
Christine Molloy, Christine MOLLOY
Moore Street
Fiction | 35mm | couleur | 5:35 | Irlande | 2004
Moore Street est un unique travelling filmé à Moore Street en Ireland. Le film est en swahili et en anglais. Pendant cinq minutes, nous suivons les pensées d'une jeune africaine en Irlande, songeant à son passé, son avenir et le sentiment d'identité qui se révèle à elle tandis qu'elle longe la rue dans la nuit. D'une part, Moore Street revient sur rue emblématique de Dublin à un moment charnière de son renouveau officiel de développement, où déjà les espoirs et les rêves des nouvelles communautés refondent la ville à l'image de leur chez-eux. D'autre part, il s'agit d'une lettre d'amour chuchotée à un amant absent au c?ur de la nuit.
Christine Molloy et Joe Lawlor sont tous deux originaires de Dublin (Irlande). Ils sont actuellement basés à Londres où ils réalisent des ?uvres filmiques et vidéo pour le cinéma, Internet, sites et galeries. Moore Street est issu d'une série de sept cours métrages en 35mm tournés par Molloy et Lawlor sous le titre Civic Life qui ont contribué à l'entrée de l'Irlande dans la Biennale de Sao Paulo en 2004.
Christine Molloy, Joe LAWLOR
Catalogue : 2012Civic Life: Tiong Bahru | Fiction | 35mm | couleur | 19:55 | Irlande, Singapour | 0
Christine Molloy, Joe LAWLOR
Civic Life: Tiong Bahru
Fiction | 35mm | couleur | 19:55 | Irlande, Singapour | 0
TIONG BAHRU follows the lives of three characters of very different ages over the course of a day as they reveal to their families and friends their hopes and desires. Lyrical and musical in its style, the film is a sensitive portrait of 3 people caught at a crossroads in their lives and the extraordinary place in which they live. TIONG BAHRU is the latest and most ambitious film in CIVIC LIFE, the acclaimed series of short films by Christine Molloy and Joe Lawlor, through which over the last 8 years the artists have explored the themes of belonging, place, change and relationships. The films are developed through an extensive process of dialogues with communities and are made with casts of volunteers drawn from the areas in which they are filmed. Featuring 150 volunteers, many of whom had never acted before, TIONG BAHRU was shot on 35mm in the market and hawker centre of the art deco heritage estate of Tiong Bahru in Singapore in June 2010. ?TIONG BAHRU is the touchstone of (Molloy and Lawlor?s) work?restrained and lavish, formally audacious and sentimental? (Sight & Sound)
Born in Dublin, Ireland Christine Molloy (b 1965) and Joe Lawlor (b 1963) studied theatre in the UK in the late 80s. From 1992 to 1999 they devised, directed and performed in six internationally acclaimed touring theatre shows before shifting their attention towards moving image based work. Between 2000 and 2003 they directed a number of episodic, interactive works for the internet, and large-scale community video projects for galleries. Since 2003 Molloy and Lawlor have produced, written and directed 10 acclaimed short films, under the title CIVIC LIFE. All shot on 35mm, the CIVIC LIFE films have screened extensively around the world including screenings at the Telluride Film Festival, the International Film Festival Rotterdam, the Thessaloniki International Film Festival, the Sydney Film Festival and IndieLisboa. HELEN, their acclaimed debut feature film, premiered at the Edinburgh International Film Festival in June 2008 before screening at over 50 film festivals worldwide. TIONG BAHRU is the latest film in the CIVIC LIFE series.
Catalogue : 2006Moore Street | Fiction | 35mm | couleur | 5:35 | Irlande | 2004
Christine Molloy, Christine MOLLOY
Moore Street
Fiction | 35mm | couleur | 5:35 | Irlande | 2004
Moore Street est un unique travelling filmé à Moore Street en Ireland. Le film est en swahili et en anglais. Pendant cinq minutes, nous suivons les pensées d'une jeune africaine en Irlande, songeant à son passé, son avenir et le sentiment d'identité qui se révèle à elle tandis qu'elle longe la rue dans la nuit. D'une part, Moore Street revient sur rue emblématique de Dublin à un moment charnière de son renouveau officiel de développement, où déjà les espoirs et les rêves des nouvelles communautés refondent la ville à l'image de leur chez-eux. D'autre part, il s'agit d'une lettre d'amour chuchotée à un amant absent au c?ur de la nuit.
Christine Molloy et Joe Lawlor sont tous deux originaires de Dublin (Irlande). Ils sont actuellement basés à Londres où ils réalisent des ?uvres filmiques et vidéo pour le cinéma, Internet, sites et galeries. Moore Street est issu d'une série de sept cours métrages en 35mm tournés par Molloy et Lawlor sous le titre Civic Life qui ont contribué à l'entrée de l'Irlande dans la Biennale de Sao Paulo en 2004.
Jonathan Monaghan
Catalogue : 2016Escape Pod | Animation | hdv | couleur | 18:0 | USA | 2015
Jonathan Monaghan
Escape Pod
Animation | hdv | couleur | 18:0 | USA | 2015
Escape Pod is a seamlessly looping 20 minute computer animated film chronicling a golden deer through glossy environments of wealth, power, and authority. Composed of one continuous tracking shot, the journey imagines a new reality devoid of human bodies, left only with material desires and ambitions of power.
Artist Jonathan Monaghan (born 1986, New York) creates animated video installations that challenge the boundaries between the real, the imagined, and virtual. Pulling from wide-ranging sources such as science fiction and baroque architecture, he creates bizarre, yet compelling, narratives and imagery with the same high-end technology used by Hollywood and video games. His work has been exhibited widely, including venues such as: The Sundance Film Festival, The BFI Southbank in London, The Hirshhorn Museum in Washington D.C., and The Crystal Bridges Museum of American Art. His work has been featured by The Washington Post, VICE, The Wall Street Journal, The Huffington Post, and The Village Voice.
Catalogue : 2015Mothership | Animation | hdv | couleur | 14:42 | USA | 2013
Jonathan Monaghan
Mothership
Animation | hdv | couleur | 14:42 | USA | 2013
Salvador Dali meets science fiction in a fantastical vision from an alternate reality. Cows, superheros, video games, luxury hotels, and operating rooms seamlessly meld in a surreal exploration of value and power in the digital era. Trapped in an endless loop of seductive but ultimately vacuous simulation where meanings don’t quite materialize.
American artist Jonathan Monaghan (born 1986, New York) creates sculpture and animated video installations that challenge the boundaries between the real, the imagined, and virtual. Pulling from wide-ranging sources such as science fiction and baroque architecture, he creates bizarre, yet compelling, virtual environments and stories with the same high-end technology used by Hollywood and video games. His work has been exhibited worldwide in venues such as Bitforms Gallery in New York, BFI Southbank in London, Eyebeam Art & Technology Center, The Hirshhorn Museum in Washington D.C., and the Moving Image Art Fair London. His work has been featured by The Washington Post, Metropolis M, The Huffington Post, TimeOut NY, The Wall Street Journal and NYC TV.
Catalogue : 2014Rainbow Narcosis | Animation | hdv | couleur | 9:0 | USA | 2012
Jonathan Monaghan
Rainbow Narcosis
Animation | hdv | couleur | 9:0 | USA | 2012
Rainbow Narcosis follows a headless lamb through hallucinatory and otherworldly environments. From the Palais Garnier in Paris, to a modernist loft, the film weaves a cryptic narrative of iconic subject matter relating to wealth and power. Like an alternate reality, elements from contemporary culture coexist with an antiquated past.
American artist Jonathan Monaghan (born 1986, New York) creates animated films that challenge the boundaries between the real, the imagined, and virtual. Pulling from wide-ranging sources such as science fiction and baroque architecture, he creates bizarre, yet compelling, environments and stories with the same high-end technology used by Hollywood and video games. Jonathan received his BFA from the New York Institute of Technology in 2008 and his MFA from the University of Maryland in 2011. His work has been exhibited worldwide in venues such as Bitforms Gallery, BFI Southbank London, The Hirshhorn Museum, and the Moving Image Art Fair. He has given lectures and workshops at the Glasgow School of Art, the University of Denver, and the Metropolitan Museum of Art. His work has been featured by the Washington Post, Metropolis M, The Huffington Post, TimeOut NY, the Colbert Report, ArtInfo and NYC TV. Monaghan is represented by Curator?s Office in Washington D.C
Jonathan Monaghan
Catalogue : 2022Den of Wolves | Vidéo | 4k | couleur | 19:0 | USA | 2020
Jonathan Monaghan
Den of Wolves
Vidéo | 4k | couleur | 19:0 | USA | 2020
Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.
Jonathan Monaghan is an award-winning visual artist who works across a range of media, such as prints, sculpture, and animation, to produce otherworldly objects and narratives. Drawing on wide-ranging sources, such as historical artworks and science fiction, his fantastical pieces uncover subconscious anxieties associated with technology and consumerism. Monaghan’s work has been exhibited at the Sundance Film Festival and the Palais de Tokyo in Paris, among other major venues. He has been featured in several media outlets, including The New York Times, Vogue Italia, and The Washington Post. His work has also been acquired by numerous public and private art collections, including The Crystal Bridges Museum of American Art and the Washington, D.C., Art Bank Collection.
Guillermo Moncayo
Catalogue : 2015Echo Chamber | Vidéo | hdv | couleur | 19:0 | Colombie | 2014
Guillermo Moncayo
Echo Chamber
Vidéo | hdv | couleur | 19:0 | Colombie | 2014
Résumé du film : Le long des voies ferrées délabrées d`un pays tropical, un poste radio diffuse en boucle une alerte climatologique : une catastrophe naturelle est imminente Intention : *Ce film est inspiré d’un phénomène historique concret, l’abandon progressif du système ferroviaire de la Colombie pendant la deuxième moitié du XXe siècle, lequel caractérise la relation complexe que ce pays a entretenu au fil du temps avec la notion de Modernité. Il est envisagé en quelque sorte comme un processus intime de déconstruction de la cartographie imagée de ce territoire, comme une réflexion portée vers la corrélation existante entre un paysage physique et sa représentation mentale. Véritable «travelling avant» sur les voies ferrées vétustes d’une mémoire collective, qui cherche à scruter de façon transversale, les conditions à partir desquelles l’individu contemporain construit les cadres de son expérience intérieure.
Guillermo Moncayo a fait des études de cinéma à Bogotá (Colombie) de 2003 à 2006. A partir de 2007, il étudie à l`École Supérieure d’Art d’Aix en Provence, de laquelle il est diplômé en 2012. Actuellement, il suit le cursus du Fresnoy-Studio National des arts contemporains. Son travail, qui se situe entre l’art vidéo, le film documentaire et la photographie, a été exposé dans de nombreuses manifestations en France et à l`étranger. Il explore la façon dont notre environnement géographique, qu`il soit aménagé ou non, agit sur notre comportement affectif. On y décèle régulièrement des questionnements sur les processus à partir desquels l`Homme contemporain construit les cadres de sa propre expérience.
Jorge Moneo Quintana
Catalogue : 2020Orbainak | Doc. expérimental | hdv | couleur et n&b | 29:14 | Espagne | 2019
Jorge Moneo Quintana
Orbainak
Doc. expérimental | hdv | couleur et n&b | 29:14 | Espagne | 2019
The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?
Born in Vitoria-Gasteiz (Basque Country) in 1988. He achieved his Bachelor degree at the University of the Basque Country and also carried out studies at Universitatea de Arta si Design din Cluj-Napoca (Romania) and Universidade de Vigo (Spain). Over the past few years he has developed his artistic career in visual arts and audiovisual media, enrolling in personal projects both as author, editor and cinematographer. His creations have been displayed in several cultural institutions and film festivals in Europe, Asia and America. He completed his film studies at ESCAC (Catalonia) and at the UAB-Universidad Autónoma de Barcelona (Catalonia) where he co-directed "The Interior City" that premiered at IDFA 2017. "Orbainak" ("The Scars"), his first film on his own, has been produced thanks to the Montehermoso Cultural Center grant and has participated into mentoring programes at IDFAcademy (The Netherlands) and Zlab (Basque Country). It premiered at Punto de Vista 2019 and has been awarded at Filmadrid 2019. He is currently finishing his next short film ?Begiak Hesteko Artean? (2020) and developing his first feature film 'Almanaka' (2021).
Caroline Monnet
Catalogue : 2013Gephyrophobia | Film expérimental | 16mm | | 0:0 | Canada | 2012
Caroline Monnet
Gephyrophobia
Film expérimental | 16mm | | 0:0 | Canada | 2012
La peur des ponts
Caroline Monnet est une artiste multidisciplinaire d`origine Algonquine et Française qui travaille principalement en film et vidéo, photographie et sérigraphie. Ses oeuvres ont été présentées dans plusieurs galleries et festivals autour du monde, notamment au Festival International de Toronto, Urban Shaman Contemporary Aboriginal Art (Winnipeg),Plug In ICA, Cannes, Magere Arts Centre (NZ) et Künstlerhaus Bethanien (Berlin). Monnet est membre active d`ITWÉ, un collectif dédié à la recherche, à la création et à la production des arts médiatiques autochtones.
Caroline Monnet
Alex Monteith
Catalogue : 2016Cascade Cove in the Shadow of 150,000 Bones | Doc. expérimental | hdv | couleur et n&b | 13:0 | Nouvelle-Zélande | 2015
Alex Monteith
Cascade Cove in the Shadow of 150,000 Bones
Doc. expérimental | hdv | couleur et n&b | 13:0 | Nouvelle-Zélande | 2015
SYNOPSIS Film essay recorded in Aotearoa / New Zealand`s Cascade Cove, Tamatea / Dusky Sound; one of the wettest places on earth. After he had sailed there for the first time in 1770, James Cook spent more than two months in Tamatea in Aotearoa on his second journey in 1773. Cascade Cove within Tamatea is also near to the sites of the earliest archeological digs of the lower fiords of Aotearoa. The Begg Brothers, then in the modern era, Peter Coutts, each made various archeological incursions looking for and removing both settler and Maori material culture from the area. This film compiles observations of the intensity of weather atmosphere as a physical expression of tension between elemental forces, as a way of approaching a contested past in which European research methods overran already existing Maori knowledge production about the area. This film is part of an ongoing series of work about this area of Aotearoa.
Alex Monteith Biography (1977-) born Belfast, Northern Ireland, resides Tamaki Makaurau, Aotearoa resides in Piha, Aotearoa Alex Monteith’s works often explore the political dimensions of culture engaged in turmoil over land ownership, history and occupation. The works traverse political movements, contemporary sports, culture and social activities. Projects often take place in large-scale or extreme geographies. Recent surfing related actions connect the museum directly to local geography through participatory performance projects.
Catalogue : 2012Composition with RNZAF 3 Squadron Exercise Blackbird for three-channel video installation | Vidéo | hdv | couleur | 15:16 | Nouvelle-Zélande | 2010
Alex Monteith
Composition with RNZAF 3 Squadron Exercise Blackbird for three-channel video installation
Vidéo | hdv | couleur | 15:16 | Nouvelle-Zélande | 2010
?onboard three grey Iroquis in military formation over Te WaiPpounamu?ridgetop alpine mists?tussock valley floors?radio communication... Award winning artist Alex Monteith collaborated with Royal New Zealand Air Force No.3 Squadron Leader Oliver Bint to compose a flight routine for three simultaneously flying RNZAF Iroquois helicopters. The action was performed during RNZAF Exercise Blackbird; a two weeklong search and rescue (SAR) training exercise based at Dip Flat at the northern section of the Southern Alps of New Zealand during the winter of 2010. Three helicopters fly maneuvers? in the line astern formation of banking turns in the Alpine areas of the isolated Leese Valley. Each helicopter was installed with identical rearward facing on-board HD cameras. The artworks key maneuver is a three helicopter simultaneous pedal-turn on a ridge-top; the only military maneuver of this kind ever developed specifically for an artwork. The video artwork contains no cuts. The audio is continuous intercom. dialogue between the radio operators at Dip Flat and the pilots in all three helicopters as they position and reposition to maintain the flight-plan.
Born Belfast, Northern Ireland (1977), Alex Monteith is an artist and academic based in Auckland New Zealand where she is a lecturer at the Elam School of Fine Arts, the University of Auckland. In 2008 she was awarded the Arts Foundation New Generation Awards, one of New Zealand?s most important bi-anneal awards for contemporary art and her video work Passing Maneuver 2008 was a finalist for the Walters Art Prize 2010. Her work is post-studio in orientation and often takes the form of performances, video art and large-scale actions with high-speed or high-risk cultures with radical sensitivities to geography.
Alex Monteith
Catalogue : 2008Chapter and Verse | Doc. expérimental | 16mm | couleur et n&b | 91:0 | Irlande, Nouvelle-Zélande | 2005
Alex Monteith
Chapter and Verse
Doc. expérimental | 16mm | couleur et n&b | 91:0 | Irlande, Nouvelle-Zélande | 2005
« Le documentaire expérimental hanté et hantant d'Alex Monteith nous invite à prendre en considération ses images de l'Irlande du Nord durant cette période transitoire, d'un point de vue des conflits. Certaines de ses images sont composées de beauté limpide et formelle, d'autres plus dans le style d'un journal télévisuelle avec une caméra à l'épaule, certaines en couleur, d'autres en noir et blanc mais la plupart n'ont un rapport qu'oblique avec les expressions élégantes de perspective personnelles et politiques entendu sur la bande son. Son approche contemplative et sans limites de représentation de la lutte historique est clairement influencé par Godard comme elle est la premiers à le faire savoir. Son infaillible sens du montage à utiliser la duré et l'interruption comme faire tressaillir un public déjà attentif. Pendant que nous écoutons un catalogue de morts, la caméra semble scruter les paysage pour des signes de violence. l'effet est étrangement semblable au plan de Resnais d'Auschwitz dans « Night and Fog ». Ce film fut tourné sur plus de trois ans sur des lieux de réminiscences des conflits comme le Bogside à Derby. Il se concentre aussi sur les morts de la petite ville de frontière souvent bombardée Castlederg, County Tyrone » -Bill Gosden, Directeur du Festival de Film de Nouvelle Zelande. « Chapter and Verse » comprend des extraits enregistrés avec des politiciens, des membre de la force de sécurité, au famille des victimes des conflits, des figures religieuses et académiques comme Ian Paisley, Premier Ministre de l'Irlande du nord et Edward Daly, Evêque émérite de Derry.
Alex Monteith est née à Belfast, Ireland du Nord en 1977. C'est une artiste, académique et réalisatrice expérimentale. Elle vie à Auckland, Nouvelle Zélande oû elle est directrice de Moving Image à la Manukau School of Visual arts, Manukau Institue of Technology
Marwan Montel, Sao Sopheak
Catalogue : 2023Autour de La Folie Almayer | Documentaire | mov | couleur | 49:2 | France, Belgique | 2022
Marwan Montel, Sao Sopheak
Autour de La Folie Almayer
Documentaire | mov | couleur | 49:2 | France, Belgique | 2022
La Folie Almayer est l'adaptation faite par Chantal Akerman du premier roman éponyme de Joseph Conrad ; Une histoire de passion, de perdition et de folie quelque part en Asie du Sud-Est que la cinéaste est partie tourner en 2010 au Cambodge. Présent sur le tournage, Sopheak Sao a filmé la cinéaste au cœur de son travail dans la végétation exotique et dans les eaux noires d’un fleuve qui ne semble mener nulle part. Les images qu’il a filmées ont, après un archivage de dix ans, été montées par Marwan Montel, et montrent combien le travail formel et esthétique prend le pas sur l’aspect narratif dans le travail de la réalisatrice belge. Une véritable plongée au plus près de l'artiste, et une occasion exceptionnelle de se glisser au cœur de son travail.
Marwan Montel (né à Istanbul en 2001) est un monteur et réalisateur Français. Suite à ses études à l'IAD en Belgique, d'où il sort diplômé en montage-scripte, il réalise un film documentaire d’archive sur le dernier tournage de fiction de Chantal Akerman.