Catalogue > Liste par artiste

RE-ANIMATED explores the intersections of extinction, preservation of immortality. It is a re-imagining of ornithologist Douglas H. Pratt’s memories of the now extinct Kaua’i ???? bird, as told to director Jakob Kudsk Steensen. In the work, a vast virtual landscape based on Kaua’i unfolds and transforms into a photorealistic new world for people to explore. 3D-scanned organic material sourced from both field work and the American Museum of Natural History, as well as real archival audio are all remixed together, alongside algorithmic music composed by Michael Riesman, Musical Director for the Philip Glass Ensemble. Plants, moss, and insects respond to the pulse of music generated in real-time, and the audience’s breath and voice organically impact the virtual atmosphere through the VR headset. As a slow-moving, poetic virtual environment, RE-ANIMATED ultimately investigates how we relate to nature irrevocably altered by human activity. It provokes fresh perspectives on our ecological future, which may become unbound by the physical conditions governing our present reality.

Jakob Kudsk Steensen (b. 1987) is a Danish artist based in New York concerned with how imagination, technology and ecology intertwine. His works range from immersive VR ecosystems to mixed reality installations bridging physical and digital worlds, which invite audiences to enter new ecological realities. He collaborates with NGO’s, residencies, scientists and artists from different fields and ventures on excursions where he collects organic material, which is digitised and converted into digital worlds with 3D scanners, photogrammetry, satellite data and computer game software. Inspired by ecology-oriented science fiction and conversations with biologists and ethnographers, his projects are ultimately virtual simulations populated by mythical beings existing in radical ecological scenarios. Kudsk Steensen has exhibited internationally at the 5th Trondheim Biennale for Art and Technology; the Carnegie Museum of Art; Serpentine Augmented Architecture, Serpentine Galleries; Jepson Center for the Arts; Time Square Midnight Moment; MAXXI Rome; FRIEZE London; Podium, and Ok Corral. He was shortlisted for the Future Generation Art Prize 2019, and as part of the awards program, he was invited to create and exhibit new installations of RE-ANIMATED (2017-18) in Kiev and the Venice Biennale. He has received awards from the Danish Arts Foundation, The Augustinus Foundation, the Lumen Arts Prize, The International Academy of Digital Arts and Sciences, Games for Change, the Lumiere Foundation, The Telly Awards, and Cinequest Festival. His work has shown at Sundance, TriBeCa and Cannes among other film festivals. Steensen is an alumni of NEW INC, a technology and culture incubator by The NEW MUSEUM, in NYC.

I created this work for Wola Museum in Warsaw. I was inspired by anonymous documentary photograph probably from 50` that puzzled me as very contemporary and unbelievably well staged as for a snapshot. I was thinking a lot about how language of “reality” changes over time and how it can be easily influenced reinterpreted. And then I relied that reenactments are very bodily reinterpretation of images, that they make individual bodies to be mediums of transformation meanings; and I realised that their growing popularity and superficial innocence frightens me. I decided to reenact this photograph I came across and asked members of historical re-enactment groups to do it. Later I also wrote accompanying essay in which I have put into words my interest in language of documentary in contemporary art

Grzegorz Stefanski, born in 1983 in Czluchow (PL), lives and works in Warsaw and London where he is currently an artist in residence at Sarabande Foundation. Before attending art school, he earned master’s degree in philosophy and made his artistic debut in with solo exhibition during Cracow Photomonth Festival in 2010. He concluded his artistic education at The Slade School of Fine Art in London and Miroslaw Balka’s Studio of Spatial Activities in Warsaw. In 2017 he won the Ivan Juritz Prize in London and the Grand Prix at the Biennale of Young Art in Poland. He has exhibited his works at the Whitechapel Gallery in London (2018), Museum of Modern Art in Warsaw (2018), Ujazdowski Castle Centre of Contemporary Art (2018), Manifesta 11 in Zurich (2016), Pastificio Cerere Foundation in Rome (2014) and the NY Art Book Fair at MoMA PS1 in New York (2010). He has collaborated, among others, with Nowy Teatr in Warsaw (2016), National Museum in Warsaw (2017), and Bunkier Sztuki Gallery of Contemporary Art in Cracow (2018).

Steina was born in Reykjavik, Iceland, in 1940. She studied violin and music theory, and in 1959 received a scholarship from the Czechoslovak Ministry of Culture to attend the State Music Conservatory in Prague. Woody and Steina married in Prague in 1964, and shortly thereafter she joined the Icelandic Symphony Orchestra. After moving to the United States in 1965 she worked in New York City as a freelance musician. She began working with video in 1969, and since then her various tapes and installations have been exhibited in USA, Europe and Asia. Although her main thrust is in creating Video Tapes and Installations she has recently become involved in interactive performance in public places, playing a digitally adapted violin to move video images displayed on large video projectors. In 1971 she co-founded The Kitchen, an Electronic Media Theater in New York. Steina has been an artist-in-residence at the National Center for Experi-ments in Television, at KQED in San Francisco, and at WNET/Thirteen in New York. In 1988 she was an artist-in-residence in Tokyo on a U.S./Japan Friendship Committee grant. She has received funding from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute and the New Mexico Arts Division. She received the Maya Deren Award in 1992 and the Siemens Media Art Prize in 1995. In 1993 she co-curated with Woody the exhibition and catalogue, Eigenwelt der Apparatewelt (Pioneers of Electronic Art) for Ars Electronica in Linz, Austria. In 1996 she served as the artistic co-director and software collaborator at STEIM (Studio for Electronic Instrumental Music) in Amsterdam. In 1996 Steina and Woody showed eight new media installations at the San Francisco Museum of Modern Art, an exhibition repeated in Santa Fe a few months later. Her installation, titled Orka was featured in the Icelandic Pavilion at the 1997 Venice Bienale. In 1999 she showed three installations in three countries: "Nuna" in Albuquerque, New Mexico, "Textures" in Reykjavik, Iceland and "Machine Vision" in Milano, Italy. She created two installations for the Art Festival 2000 in Reykjavik, Iceland. In 2001 she was invited to festivals in Norway, Russia, Estonia, Portugal, Montreal, England and Italy. Between July and October of 2002 she realized four installations in four locations in her hometown of 22 years, Santa Fe, NM

The Big Crash VR is a nonlinear immersive virtual reality artpiece based on data mined from real estate sites. The audience experience it either on an Oculus Quest headset within an exhibition context or online with a desktop browser or the one within a VR device. This piece is part of Malte Steiner's art project The Big Crash. The thematic departure point is the instability of the real estate market as a consequence of extreme gentrification. Something that is actively taking place in all bigger cities around the globe. There is a pending ‘big bubble crash’ awaiting as a consequence of this and the piece deals with the growing instability this movement creates and its effects on society. The VR world is build with graphical artifacts derived from real estate ads from Berlin with a custom software. Images from these ads are segmented into objects by a Machine Learning algorithm and used to create a surreal architecture in the 3D environment. Sound based on the data from the prices and square meters over a span of several months provides an additional layer.

Malte Steiner (born 1970) is a German media artist, electronic musician and composer, currently living in Aalborg in Denmark. Steiner started creating electronic music and visual art around 1983, developing his own vision of the interdisciplinary Gesamtkunstwerk, working with, and not limited to, film, theater, paintings, video games, interactive installations and sound. First exhibitions already in 1983. In 1986 Steiner took a course in electro-acoustic music in Lüneburg by H.W. Erdmann and gave his first live performances in the following years, e. g. in Germany, France and Belgium and started 1987 to release his music on cassette, later on vinyl, CD and online. Steiner was a co-founder of the Hörbar club for experimental music located in Hamburg (DE), which opened in 1991 and is still active today. In 1998 he started creating electronic art and installations and in 2003 additionally several netart projects including a collaborative visual networking environment, shown in the Java museum in Sofia, Bulgaria. In 2011 Steiner moved to Berlin, where he opened his own non-public media lab block 4. Besides diverse music projects Steiner is also involved in several open source projects and has done lectures, radio features and workshops. 2018 he relocated to Aalborg, Denmark.

"The Garden" is a reflection on climate change. It is created from found, recycled film footage and is presented in three parts. "I work almost exclusively with found footage (educational and industrial films, and home movies). Once I have appropriated the footage I practice the art of montage with great pleasure by colliding disparate images, looping clips and manipulating time. Such techniques accentuate the gestures and quotidian rhythms of my subjects distilling the essence of a time, place or idea. Although a narrative is never explicit one may be implied."

Ann Steuernagel is an experimental video and sound artist. Her work has been presented throughout the United States and in Canada, Mexico, and Europe. She is the recipient of the grand prize at the XX VideoArt Festival in Locarno, Switzerland, a Massachusetts Cultural Council Media Fellowship, a LEF grant, and a fellowship from the Radcliffe Institute for Advanced Study. Ann is an Assistant Professor in the Department of Art + Design at Northeastern University.

In this film Imogen Stidworthy interweaves standard and subverted English (backslang) with tropes of class and race, trade and desire in the hidden backwaters and idealised forms of the voice. Backslang developed as a linguistic disguise to protect speakers, especially from the ears of the law. Liverpool slang has absorbed fragments from the language streams of global trade, passing through the docks: Spanish, Dutch, Yiddish, Chinese and African languages. Like all languages Backslang is also a space of identification, spoken proudly. It could be seen as a sign of economic and social conditions and as a form of resistance ? a necessity, or a possibility for different social paradigms. In Barrabackslarrabang, the voice criss-crosses social borders to reflect the mirroring of structures and desires through ostensibly opposing spaces of language, legality and culture. The work continues Stidworthy?s ongoing concern with the social landscape of the voice, its space and borders.

Imogen Stidworthy is a British multimedia artist based in Liverpool. She has exhibited at documenta 12 and most recently her work has been shown at the Thessaloniki Biennale (2007), Shanghai Biennale (2006), ?Be What You Want but Stay Where You Are? at Witte de With, Rotterdam (2005) and ?Governmentality? at Miami Art Central (2004). Recent solo shows include ?Get Here? at Galerie Hohenlohe, Vienna (2006), ?Dummy? at FRAC Bourgogne, Dijon (2005) and ?Audio Cab?, a temporary public art work installed in taxi cabs in Luton (2005). In 2004, Stidworthy was shortlisted for the Beck's Futures prize, for a video work featuring Cilla Black impersonators. In 1996 she won the Dutch Prix de Rome.[citation needed] Stidworthy is a tutor at Piet Zwart Institute, Rotterdam and an Advising Researcher at the Jan van Eyck Akademie, Maastricht. In 2008 she won the Liverpool Art Prize.

The video White Transformer engages with the cosplay phenomenon in China and portrays the act of transformation from ?ordinary? human into fictional character. It was shot with the help of the Century Noah cosplay group in Chongqing, China who build and perform characters from a variety of narrative universes such as Gundam, Starcraft and World of Warcraft. The French theorist Gabriel Tarde once stated that in order to understand what the social is, one has to focus on the notion of imitation. The global cosplay culture is a perfect example for this approach, since the fans interact with each other on the basis of global signs that emerge from products of the cultural industry, when they appropriate characters from large video and game franchises. This leads to the issue of intellectual property, which comes into play because all of these characters are registered trademarks owned by large international entertainment companies. What does it mean for the fans and audiences to adapt and transform these symbols. Furthermore, cosplay opens up many questions in conjunction with identification, since cosplayers deliberately choose to identify with and perform as fictional beings from a realm beyond real life limitations such as race, class or gender.

Axel Stockburger is an artist and theorist who lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the Univeristy of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as a senior artist at the Academy of Fine Arts / Department for Visual Arts and Digital Media in Vienna. Between 2010 and 2012 he was part of the artistic research project ?Troubling Research?, which engaged with the problems and possibilities of art in the context of knowledge production. In recent years his works were presented in the following exhibitions (selected): ?Games People Play?, CCANW, Exeter (2012), "Troubling Research: Performing Knowledge in the Arts", xhibit, Academy of Fine Arts, Vienna (2011),"Nothing in the World but Youth", Turner Contemporary, Kent (2011), ?Jingshenfenxi?, organhaus art space, Chongqing (2011),"Videorama", Museum der Moderne, Salzburg (2011) "Talk Talk - Das Interview als künstlerische Praxis", Galerie 5020, Salzburg (2010)"Worldeater", Winiarczyk Gallery, Vienna (2009).

Un lien transgénérationnel entre trois réalisatrices à la recherche d’alternatives aux structures de pouvoir dont elles font intrinsèquement partie. Le film est né de projets filmiques abandonnés par Maya Deren et Barbara Hammer. Tourné au point le plus éloigné d'un voyage en moto que Barbara Hammer a fait au Guatemala en 1975, il est entrecoupé des réflexions de Maya Deren sur l'échec, la rencontre et l'initiation dans l'Haïti des années 50. Un vévé est un dessin symbolique utilisé dans le vaudou haïtien pour invoquer un Loa, un dieu.

Deborah Stratman est artiste et réalisatrice. Elle crée des films et des œuvres d'art qui interrogent le pouvoir, le contrôle et les croyances, en considérant la façon dont les lieux, les idées et la société sont entrelacés. Ses projets récents ont porté sur l'écoute, la liberté, la surveillance, les dolines, les comètes, les rapaces, les orthoptères, la lévitation, l'exode, la sororité et la foi. Elle vit à Chicago (USA), où elle enseigne à la University of Illinois.

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

Multiple layers of fabrication and imposition are laid bare by this fluidly choreographed, single-shot embodiment of control. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are governmental violations of individual privacy. Filmic quotations ground Hacked Circuit, evoking paranoia, and a sense of conviction alongside a lack of certainty about what is visible. Complications of the seen, the known, the heard and the undetectable provide thematic parallels between the stagecraft of Foley and a pervasive climate of government surveillance.

Chicago-based artist and filmmaker Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Non-prescriptive, her works pose a series of problems that allow for complex readings of the questions being asked.

Le défi que se/nous propose Jean-Marie Straub est bien d'ordre cinématographique. Tous ses films ont toujours été constitués de blocs. Et ces blocs qui s'entrechoquent, blocs denses de textes, de paysages, de visages, ont toujours eu pour nécessité de donner à voir à travers ces chocs l'invisible des sentiments et du politique. Mélangeant les blocs de temps (40 ans séparent les différents extraits), les blocs de textes (Malraux, Fortini, Vittorini, Holderlin) et les blocs de langues (français, italien, allemand), pour que de ce fracas émerge l'histoire du monde, oui l'Histoire, et du même mouvement l'espoir politique de son dépassement. La première chose que nous dit Kommunisten, c’est que Straub pense ici son cinéma comme un fonds d’archives personnel dans lequel puiser, si bien que ce film devient une leçon où les fragments des films passés – plus un « nouveau », en ouverture, inspiré de Malraux, avec la voix de Straub lui-même (hors champ) qui interroge des communistes en prison – peuvent être utilisés comme objets d’étude. Kommunisten, c’est Straub et c’est Danièle Huillet, mais c’est surtout leur cinéma – qui a traversé le XXe siècle, ses conflits et ses utopies impossibles, en cherchant dans le pli des mots et des images qui les tissent ce qui est resté suspendu, caché, enfoui avec les oublis imposés par ceux qui écrivent et déterminent l’Histoire. Chaque « bout » de film nous emmène en terrain découvert, dans un passé qui paraît actuel, parce que ces questions sont restées sans réponse – si ce n’est avec une image, qui continue à les poser sans relâche, avec détermination. (Cristina Piccino, Il Manifesto, 19 août 2014)

‘So Settler, Are You a Pioneer?’ captures the structures of a rapidly changing peripheral neighbourhood: material remains of an obsolete infrastructure, luxury apartments, and piles of bricks that once used to house people. The work re-assembles and digitally preserves sites that are often overlooked in tales of linear progress. The piece is a journey through distorted urban landscapes, an assemblage of partial perspectives. By adapting the cartographic technique of photogrammetry, Wouter aims to question the authorities who decide what is and what is not in focus.

Through unravelling tales of linear progression I seek to map out the blurriness of our world. By adapting and appropriating modern contemporary cartographic techniques, such as photogrammetry, and the use of aerial and satellite imagery. I aim to question the authority that decides what is and what is not in focus to re-orient and ignite curiosity. Currently I am active as an artist and graphic designer. Besides my individual practice I collobarate in communal projects, one being OUTLINE; a collective and publishing platform consisting of one other graphic designer and two photographers. Another one being Radio Voorwaarts which is a platfom for underground culture in Amsterdam. More recently: Verdedig Noord, an activist group fighting against gentrification in Amsterdam Noord.

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Cultural Quarter présente les relations qui existent entre les citoyens et l'observation de la ville, et soulève des questions d'ordre éthique au sujet de la surveillance, du regard, et du comportement humain. La vidéo montre l'écart qui existe entre l'élaboration des espaces publics, et la perception qu'en ont les citoyens, quant à la signification d'un espace culturel commun et de son utilisation. Dans son travail d'artiste et de cinéaste, Mike Stubbs adopte un style documentaire, mêlant le réalisme social et la conscience politique avec une sensiblité aigüe. Cette vidéo a remporté le second prix à Videoex, Zurich, dans la section internationale.

Mike Stubb a étudié à Cardiff et au Royal College of Art. Il enseigne actuellement à l'Université de Dundee. Il a dirigé le Hull Time Based Arts, au Royaume-Uni, et a dévelopé le Centre for Time Based Art, AVIDLAB (laboratoire de médias numériques) et EMARE (European Media Arts Residency Exchange). Il a réalisé des programmes centré sur les nouveaux médias , entre autre pour le festival des nouveaux médias à Kiev, en Ukraine, et pour le Microwave festival à Hong Kong. Son travail a reporté plusieurs prix, notamment à Oberhausen, à Graz, à Osnabruck et à Locarno.

The documentary Man Made Place shows through impressive images how two certain cities ? and the relation of inhabitants to these cities ? are developing in China in times of urban growth. Yumen ? a derelict ghost town ? and Kangbashi ? a mythic city of the future, both are deserted. They exist because of completely different reasons.

Born 1979 in Taiwan. Artist and director, living in Essen (Germany). 1998?2002 studies at the National Taiwan University (BA). 2006 ?2012 studies at the Academy of Media Arts Cologne,Art (diploma). his first documeNtry film were promoted by Film- und Medienstiftung NRW (Germany) in the year 2011.

« TheNewYorkPerformance » est une vidéo performance en trois parties. Dans « 100 Bucks in 100 Seconds » on peut voir l'artiste compter 100 Dollars en 100 secondes. A chaque seconde une coupure, en 100 plans caméra différents. Le temps qui passe de façon tantôt lente, tantôt plus rapide. La mesure du temps correspond à celle de la somme d'argent, mais le temps du vécu échappe au découpage, ce qui rend la vie incommensurable et pousse à s'interroger sur sa valeur subjective. La vérification maniaque de sa propre solvabilité -à compter son argent à chaque coin d'ombre des tours du quartier de la finance à New York- est l'auto-arrimage au "real time", qui permet tout autour du globe de réagir à la seconde près, avec la même méthode, aux variations conjoncturelles dans les mines de diamant du Congo comme dans les rizières du Vietnam. Cette vidéo se meut comme expérimentation rhétorico-filmique entre intuition de l'espace phénoménologique et illusion de son unité stéréométrique. Le balayage par les plans de caméra révèle que cette unité est une production de l'habitude perceptive du spectateur et libère le regard, lui rendant sa perception originelle de l'espace. Dans « Leftwing », l'artiste transforme un pupitre d'écolier typique dont il scie la partie droite pour la remonter sur la gauche. Après avoir fini son travail, il s'assoit sur le siège, signe la table et, après mûre réflexion, colle un chewing-gum dessous. Ce que montre la vidéo n'est pourtant pas le pupitre déjà transformé, mais la façon dont il l'est. La caméra documentaire, tenue en retrait, fait ainsi oublier que le véritable produit, le travail présenté ici, n'est ni un objet ni l'histoire de sa création, mais une suite d'images numériques. L??uvre réelle échappe à l'attention : ce sont les différents aspects de la nature de cette ?uvre que l?on explore ici. Le collage de chewing-gum met en valeur l'action de signer, qui est ici ramenée au niveau des graffitis et des "tags". A l'intégration du travail artistique dans un contexte artistique, on oppose ainsi une appropriation inconsciente de l'environnement au quotidien. Dans ce contexte, le titre pose avec provocation la question de l'importance politique de l'art. L?art est vu comme un champ d'expérimentation des transformations sans but, un espace de découverte des différences (mise en évidence dans le remontage du pupitre et la maladresse de l'artiste). Dans « Studio 510 Blues » on peut voir l'artiste entrer dans son studio, regarder autour de lui pour finir par saisir sa chaussure, usée par la marche et baillant de la semelle, et pulvériser de la couleur rouge sur la béance. Au rythme de la chanson « Running Blues » des Doors, il se sert de la chaussure comme d'une marionnette et imite le chanteur, l'ouverture de la semelle faisant office de bouche. Dans cette vidéo, l'artiste travaille à partir du rapport personnel qu?il entretient avec la ville de New York, où une bourse lui a permis de vivre et de travailler pendant 6 mois. Alors que les traces qu?il a pu laisser dans cette ville s'effacent peu à peu, la ville s?inscrit en ses habitants sous la forme d'une usure. L'usure de la chaussure symbolise l'usure du temps. La qualité de ce temps, constituée de tous les moments vécus, conduit à charger la chaussure de souvenirs nostalgiques. Dans le caractère dérisoire d'une chaussure trouée, l'artiste fait allusion à la différence existant entre l'identité européenne et son trop-plein d'histoire, et l'identité américaine dans son orientation pragmatique. La coupure entre la chose et sa finalité, en sortant la chaussure de son contexte habituel, doit s'entendre comme une invitation à composer de façon créative avec sa propre perception qui renferme la possibilité d'une interaction entre l'individu et son environnement, et, au-delà, renvoie à la possibilité d'en faire le siège de sa propre identité. © Kai Schupke (curateur)

Le parcours artistique de Bosse Sudenburg commence en 1996 lorsqu'il entreprend des études d'art et d'histoire culturelle à Leipzig. Au contact du groupe d'artistes « Ramon Haze », il se découvre rapidement plus intéressé par la pratique que par la théorie artistique. Ce qui ne l'empêche pas de développer pendant ses études un regard critique et analytique sur l'art, toujours présent dans ses travaux. En 1996, l'artiste travaille encore exclusivement dans le domaine plastique. Sa rencontre avec Ilja Kabakow, qui expose cette année-là à la galerie d'art contemporain de Leipzig, le conduit à contribuer à « Blind Date », première exposition avec le groupe « Ramon Haze » qui se confronte aux relations entre le corps et l'espace. C?est l'année suivante que naît le travail « KommunikationNonKommunikation? », relatif à l'espace. Dans cette oeuvre particulière qui laisse la sculpture derrière elle, l'artiste trouve le medium qui marquera ses oeuvres jusqu'à aujourd'hui. La dématérialisation de l'objet artistique qui intervient ici, avec en arrière-plan la numérisation du flot de données et le développement d'internet, se présente comme une tentative de démystification de l'image transmise par les média. D'après le fameux axiome de Marshall MacLuhan, qui redevient d'actualité, « le medium, c?est le message », l'artiste tente de soustraire son identité personnelle au danger de se faire entraîner avec le flot des données et de n'émerger qu?en tant que manifestation des changements de mode dans les mass-média. C?est ainsi que le travail intitulé «KommunikationNonKommunikation » fait office, dans l'évolution de l'artiste, de passage vers une prise en compte de sa propre personne. Le retour vers soi est renforcé par la fin de la période d'euphorie consécutive à la chute du mur en ancienne RDA, où s'était étendu pendant des années un horizon de possibilités démesurées et où l'acceptation générale de la surconsommation avait mené à une perte des valeurs esthétiques jusque dans les moindres détails. Bosse Sudenburg déménage à Berlin et commence ses études à l?Université des Arts en réalisant des films expérimentaux (avec Heinz Emigholz et Stan Douglas). Ces années de formation font naître en 2000 des travaux dans lesquels des éléments autobiographiques sont manipulés pour former des autoportraits fictifs comme dans le film « Me myself and I », sorte d?auto-interview où l'artiste est en même temps sujet et objet de la caméra, et celui qui finalise les prises lors du montage. Le deuxième élément important dans sa façon de travailler est par conséquent le performatif. « 25%ofHomeSweetHome » est un autre film important datant de cette période, dans lequel l'auto-questionnement est étendu à la famille. En opposant les rituels immuables (dresser le couvert sur une table vide), aux rituels occasionnels (dévisser une plaque de sonnette), l'artiste tente de retenir l'état psychologique dans le changement. Après une période de confrontation théorique avec des artistes comme Vallie Export, Cindy Sherman, Roman Signer, Bruce Nauman et Wolf Vostel, mais aussi avec le "nouveau film allemand", les coopératives de films en Angleterre ou le film expérimental américain (Maya Deren) et français (Chris Marker), le travail « Das Letzte Einhorn » voit le jour en 2004 dans le cadre d'une résidence à Bristol (UWE). A l?aide d?un crayon tendu devant son front, l'artiste dessine un trait noir sur un mur blanc. L'artiste s'efface en tant que personne et souligne ainsi l'aspect conceptuel du faire et du voir. La prise de vue, le performatif et le conceptuel animent également les trois vidéos créées alors que l?artiste était en résidence au Hunter College de New York, et qui portent le nom de « TheNewYorkPerformance ». Installé dans une autre résidence new-yorkaise (grâce à une bourse du DAAD) et nominé pour le prix artistique de la SaarFernGas AG, Bosse Sudenburg achève ses études d?art à l'Université. Bosse Sudenburg participe régulièrement à des expositions et à des festivals, dans son pays comme à l'étranger.

Le film le plus récent de la série que Sueoka a créé en refilmant les films amateurs d´un diplomate japonais anonyme séjournant à Berlin au début des années 30. Le film original tente de dresser le portrait idyllique d´un été à l´étranger; sa réutilisation montre un artefact de la vie d´avant-guerre à Berlin, et, dans les tristes prémisses d´un automne qui s´annonce, les signes des jours sombres qui approchent.

Née à Sapporo en 1965. Elle a étudié la chimie à l´Université de Sciences de Tokyo. A commencé ses travaux vidéo en 1985. Un grand nombre de ses 80 films ont été tourné en Super-8. Elle vit actuellement à Tokyo en tant que réalisatrice et a co-fondé le FMIC (Film Makers Information Center), un groupe qui s´occupe de films/vidéos expérimentales, et qui présente les différents événements du cinéma indépendant au Japon depuis 2002. Elle enseigne actuellement la réalisation à l´Ecole d´Art d´Asagaya, ainsi que la création manuelle dans de nombreuses écoles d´art ou galeries d´art au Japon.

We Build Excitement is a serie of performances and videos examining the evolution of the American auto industry as a parallel to shifting American identity. Starting two years ago, Sugarmann opened (and plans to continue opening) unsanctioned Pontiac dealerships in former Pontiac dealership locations across the United States. He activates these dealerships as sites of celebration, honoring both the American auto worker and our fraught, intimate relationships to cars themselves. Assembling temporary modernist monuments with Pontiac cars, Sugarmann gives form to the precarious nature of the auto industry. And in video works, he documents laid-off assembly line workers and car accident victims recreating the movements of their former jobs and crashes, respectively. Their deadpan choreography forms a moving homage to the mundane and the traumatic moments in both the birth and death of the automobile.

Jesse Sugarmann is an interdisciplinary artist working in video, performance, sculpture and fibers. His work engages the automotive industry as a manufacturer of human identity, accessing automotive history as an index of both cultural identity and social history. Jesse has exhibited work both nationally and internationally in venues such as the Getty Institute, Los Angeles; el Museo Tamayo, Mexico City; the Portland Institute for Contemporary Art, Oregon; the Banff Center, Canada; Filmbase, Ireland; Human Resources, Los Angeles; Michael Strogoff, Marfa; el Museo de Arte Moderno de Santander, Spain; Drift Station, Omaha; Fugitive Projects, Nashville; the 21c Museum, Louisville; and High Desert Test Sites 2013. His work has been written about in publications including ArtForum, Art Papers, ART LTD, Art Cards, Art Fag City, Art Car Nation, Frieze Magazineand The New York Times. Jesse lives and works in Bakersfield, CA.

COCKED a été réalisé au moment où le débat international concernant l?initiative américaine d?invasion de l?Irak était à son comble. COCKED est un manifeste anti-guerre qui a l?apparence d?un western minimaliste, empruntant des dizaines de fragments courts de plusieurs classiques du cinéma. COCKED dilate et maintient ce qui est usuellement un moment cinématographique bref et intense, l?épreuve de force, et cause l?implosion de la mythologie américaine classique du Western. Alors que ce psychodrame étiré s?achève, le classique panorama du désert, symbole de l?espace cinématographique propre au lieu, s?écroule dans un espace psychologique métaphorique, où chaque geste, regard et posture, communique un mélange d?agression et de peur, et où rien n?est résolu.

Matthew Suib vit et travaille à Philadelphia. Il a exposé des installations, vidéos, pièces sonores et photographies dans des musées et centre d?art du monde entier : Philadelphia Museum of Art, l?Institute of Contemporary Art of Philadelphie, au Kunstwerk à Berlin, au PS1 Contemporary Art à New York. Ses vidéos sont projetées dans des festivals internationaux, dernièrement à l?Images Festival de Toronto, et à la Mercer Union, également à Toronto. Récemment, Cosmic Microwave Background with New Humans a été exposé à l?Apex Art, à New York, en collaboration avec le collectif de Brooklyn New Humans. Matthew Suib est également membre de la coopérative d?artiste de Philadelphia, Vox Populi.

Born in 1984 in Suwon, South Korea, is a filmmaker and video artist based in Berlin, Germany. After finishing her bachelor?s degree in fine arts at New York University in 2008 she moved to Berlin and lives here since. She currently studies narrative film under the supervision of Thomas Arslan at University of Arts, Berlin (Universität der Künste, Berlin) and previously studied under Heinz Emigholz, Maria Vedder and Peter Campus (NYU). From video installations to live audio-visual performances she has experimented various forms of media art in collaboration with theater directors, musicians, performers and costume/fashion designers. Since 2010 she has been a member of live audio-visual performance group Tröckna and performed in numerous festivals and new media/music venues.

In the early 1980s, VHS video recorders had become widespread in Germany and in a very short time they were also well accepted by many Turkish immigrants there. The lack of sufficient German language skills, as well as the fact that the content of German television broadcasting was not targeting the Turkish audience at all, led Turkish immigrants increasingly to rent videotapes. The video nights were a sort of social event including neighbours and family. Watching videos was accepted as a pleasant and family-friendly alternative to going out and getting attached to German-dominated cultural life. A lot of Turkish video companies opened up in Germany and imported movies to transfer them on videotapes. Some of these companies also produced low-budget video movies targeting the Turkish audience in Germany. Due to digital revolution, these companies were not able compete against digital TV and online videos and closed one after another. Some of the movies which were only released on videotapes, are now in danger of disappearing forever. Replaying Home is a video collage including selected cuts from these Turkish movies shot in Germany during the 1970s and 1980s and invites on a journey through a fictive universe based on stereotypes, culture shock, Occidentalism, homesickness and the traumas of migrant life.

Can Sungu was born in Istanbul, Turkey, studied Film (BA) and Visual Communication Design (MFA) at Istanbul Bilgi University and at the Institute for Art in Context in Berlin University of Arts (MA), gave courses on film and video production, facilitated workshops and took part in various exhibitions in Europe, such as at transmediale`14, Museum of Modern and Contemporary Art Rijeka and Künstlerhaus Vienna. In 2014 he co-founded the project space bi`bak in Berlin-Wedding where he works as project manager, artist and curator.