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"Ingen Problemer" est un film à propos de six personnages et de leurs relations personnelles. Ce sont tous des personnes scannées en 3D qui, tout en écoutant le texte de leur monologue intérieur, se déplacent dans le monde "réel", où ils n'ont pas vraiment leur place. Leur peau réagit différemment au soleil, leurs vêtements ne bougent pas au vent et leur expression faciale reste la même, quel que soit ce qui est dit. Ils utilisent des signes de la main, des mouvements corporels maladroits et la danse pour tenter de mettre en scène les textes qui sont lus. Des textes qui parlent de l’impression de se décevoir soi-même et de décevoir ses proches.

Aske Thiberg (né en 1994) est artiste. D’origine suédoise et danoise, il vit à Copenhague (Danemark), où il prépare actuellement un Master en beaux-arts.

Les films se terminent. Les biographies se terminent. La vie continue. Peut-on enfreindre cette loi? Clarissa Thieme s'y essaie. Dans "Was bleibt | Šta ostaje | What remains / Re-visited" (2020), elle se rend dans certains villages et villes de Bosnie-Herzégovine. Elle tourne une seule prise dans chacun des lieux, où d'innombrables personnes ont été violées, torturées, et assassinées pendant la guerre de Bosnie. Elle s'était déjà rendue sur place il y a dix ans. "Was bleibt | Šta ostaje | What remains" (2009, 2010 première mondiale à la Berlinale) montrait ces lieux sans les accompagner de commentaires. Chacune des images posait la question: les lieux témoignent-ils de l'horreur, ou restent-ils silencieux? Dix ans plus tard, tout est différent. Vraiment? Dans chacun des lieux, Clarissa Thieme et son équipe de tournage ont déployé une bâche sur laquelle est imprimée à taille réelle un arrêt sur image du film de 2010. Parfois, cette comparaison entre "hier et aujourd'hui" est un simple acte de reconnaissance silencieux. D'autres fois, elle suscite la conversation. Certains sont évasifs, d'autres sont remplis de souvenirs d’expériences. "Qui est mort où ?" est l'une des questions soulevées. "Qui est parti pour se construire une nouvelle existence?", "qui est resté?", "qui est revenu?" en sont d'autres. Entre les lignes et entre les images, il apparaît clairement que ces sujets n'ont pas encore été assimilés. Comment le pourraient-ils? Il est déjà assez difficile de continuer à vivre. En même temps, l'intervention filmique suscite une réaction: devant la caméra de Clarissa Thieme, des espaces publics temporaires apparaissent. Les vieilles images suscitent un échange, qui prend la forme de ce que les personnes qui réagissent lui apportent. Le film ne résout pas les mystères - il fait quelque chose de mystérieux: il plonge dans l’espace entre le souvenir et la continuation, et imbrique la rétrospection dans le présent. Le vide est partout. Et le film de Clarissa Thieme n'est jamais terminé. Au contraire, il prouve qu'il existe une chance d'agir à travers un film qui persiste. À suivre. (Jan Verwoert)

Clarissa Thieme est artiste et réalisatrice. Travaillant le film, la photographie, la performance, l'installation et le texte, elle associe les formes documentaires et fictionnelles, en se concentrant sur les processus de mémoire, la politique de l’identité, et les stratégies de traduction. Sa pratique est basée sur la recherche, et adopte souvent une approche collaborative. Elle a étudié les arts médiatiques à la UdK - Universität der Künste Berlin (Allemagne), est titulaire d'un Master en études culturelles et pratiques esthétiques à la Stiftung Universität Hildesheim (Allemagne), et est Research Alumni au BAS – Berlin Centre for Advanced Studies in Arts and Sciences (Allemagne). Son travail a été exposé et projeté dans le monde entier, et est disponible chez Arsenal Distribution Berlin (Allemagne) et sixpackfilm, Vienne (Autriche), ainsi que dans le cadre de Video-Forum n.b.k., Berlin (Allemagne); blinkvideo, Hambourg (Allemagne); et DES'T / district, Berlin (Allemagne).

Trauma prevents realities from aligning with themselves. Pain stops the puzzle pieces from fitting and forming a full picture, so the soul returns to the scene of its scarring over and over. Clarissa Thieme enters these loops of troubled remembrance: There is a video she found in the Hamdija Kresevljakovic Video Archive that collects footage of the siege of Sarajevo, filmed by Nedim Alikadic. It shows militia men by a river in a residential area. “Film them,” Alikadic is being urged by his companion. Handheld, the camera nervously moves, pans, and stutters as it seeks to connect to the threat before it. It is this particular camera movement that Thieme tracked with advanced digital image processing technology. The resultant meta-data now control an automatic arm and make it move a ray of light in exactly the same way the hand shifted the camera. Exactitude and ephemerality: extremes meet. The closer ones gets to the traumatic real, it seems, the more strongly it fractures and disperses over different planes of representation. Thieme enters the gap between them, widening it, while simultaneously pulling the fragments of reality together into one unsettling force-field. (Jan Verwoert)

clarissa thieme is an artist and filmmaker. working across film, photography, performance, installation and text, she combines documentary and fictional forms focussing on processes of memory, politics of identity and strategies of translation. her practice is research-based and often takes a collaborative approach. thieme studied Media Art at the University of the Arts Berlin (UdK), holds a MA in Cultural Studies And Aesthetic Practice, University Hildesheim and is research alumni of the Berlin Center for Advanced Studies in Arts and Sciences (BAS). she is based in berlin.

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Soren Thilo Funder’s works are carefully crafted cinematic mash-ups of diverse cultural fields and social histories. They serve as formal investigations into the power relations of modern day society and the truisms of written and unwritten history. Proposing new connections between historical, cultural and political matter, they open up new potential spaces ? third places ? for political contemplation and counter-memory.

Cheminement de pensée pour un face à face explosif nouveau synopsis: Un univers épuré, balayé par les vents. Soudain, le sol remue. Une tête au regard fixe émerge, à la façon d?un végétal. Puis une autre. Face à face. Ca y est, le décor est posé, les protagonistes sont là. Ils se dévisagent. A l?intérieur de l?esprit de l?un d?eux, une idée commence à prendre forme? et c?est la plongée. Bienvenue dans les méandres d?un laboratoire à pensées complètement délirant, peuplé de monstres et de bébés monstres ! Tout ceci débouchera-t-il sur un dialogue ?

Laurie Thinot naît à Paris en 1978. Après son bac, elle prend des cours de théâtre pendant 3 ans, puis entre en 2001 à L?ENSAD de Paris. Parallèlement, elle cumule des petits travaux de graphisme (affiche de pièce de théâtre, identités visuelles), participe à des expositions collectives, des stages et donne des coups de mains sur de petites productions d?animation en technique mixte (décor, story board). Elle réalise quelques films d?animation dans le cadre de ses études, s?oriente dans cette section et décroche son diplôme en 2006. X.pression est son film de fin d?étude. Sortie de l?école, elle fait du banc-titre sur le clip « I want love » de Jerho réalisé par Edouard Salier. Elle réalise son premier clip « La terre ferme » en technique mixte pour le groupe Luke en 2007.

En grandissant silencieusement Queer, au sein d’une famille brisée et dysfonctionnelle, Kurtis s’est confronté aux abus, aux traumatismes et à l’addiction. En guise d’échappatoire, il poursuit la Beauté partout durant son éducation à la campagne. Son obsession l’amène alors à créer son alter-ego, Miss Fame, une des super modèles drag les plus iconiques de sa génération. Miss Fame lui ouvrira ainsi les portes d’univers dépassant ses rêves les plus fous. Une session d’hypnose nous emporte dans l’esprit de Kurtis/Miss Fame, sur les traces de sa relation salutaire mais tortueuse, entre Beauté et Souffrance.

Guillaume Thomas I delve into the intimate and the power of representation, exploring the role of images in self-discovery. My creative spectrum encompasses photography, film, video, installation, sculpture, and silkscreen techniques. My work uncovers the creation of icons and myths while revealing the intricate processes behind them. This pursuit was embodied in my debut documentary, "Life Damages the Living," produced by Le Fresnoy in 2021, and showcased at Rencontres internationales Paris/Berlin in 2022. The film traces Valerie von Sobel's journey from Nazi Budapest to Hollywood, presenting the wisdom of a liberated woman spanning eight decades. Trained at l’École nationale supérieure des Arts Décoratifs in Paris and the School of Visual Arts in New York, I am constantly drawn to characters reinventing themselves, as evidenced in my art exploring beauty's future, the Queer community, and body expression. Transformation, the search for the absolute, and our origins captivate me. In collaboration with Le Fresnoy, my digital art installation "Ad Astra" (2022) captures moving light as a dynamic portrait, merging centuries-old techniques with modern tools like 3D scanning and NASA imagery. This hybrid installation juxtaposes human luminance and starlight, prompting contemplation of our cosmic connection. I am driven to portray individuals and phenomena from fresh angles. On September 1, 2022, "Pinned into a Dress," co-directed with Gianluca Matarrese, starring drag artist and supermodel Miss Fame, opened the Venice International Film Critics' Week. This film redefines identity exploration through the lens of a chameleon artist. Cross-pollination of universes, hybridization, and diverse techniques are my artistic lifeblood. ----------------- Gianluca Matarrese (1980) was born in Torino and moved to Paris in 2002 to study cinema and theater. He graduated in History and Critics of North American Cinema at the University of Torino and Paris VIII, also graduating at the Ecole Internationale de Théâtre Jacques Lecoq in Paris. In 2008 he started working in French television, as a writer and director for a comedy series on OCS networks broadcast until 2012. Then he continued as writer, director and segment producer in entertainment department for moreover than 25 programs and all French networks. In 2019 his documentary “Fuori Tutto” (Rossofuoco Films, Agat Films, France Télévisions) won the award for Best Italian Documentary at the Torino Film Festival. His film “La dernière séance” (“The Last Chapter”) had its world premiere at the last Venice International Film Critics’ Week, winning the Queer Lion Award. The film has been selected at IDFA, Thessaloniki Documentary Film Festival, and keeps touring in other international festivals. The film has recently been broadcast on SKY Italy networks. He directed, for France Télévisions, the musical documentary on the singer Barbara Pravi, representative of the Eurovision Contest 2020. His film “Fashion Babylon” (Bellota Films & France Télévisions) premiered at CPH:DOX and Hot Docs and more than 20 festivals around the world. It has been broadcast in 10 countries. His film “Il Posto” (“A Steady Job”) (Altara Films, Bocalupo Films & ARTE / NDR), co-directed with Mattia Colombo premiered in Vision du Réel and Hot Docs, and it’s currently touring in several international festivals. In 2023, Gianluca premiered his latest films “Les Beaux Parleurs” at Biografilm Festival & “L’expérience Zola” at Giornate degli Autori of the 8oth Venice International Film Festival.

Valerie von Sobel, 80 années drapées en couture et en mystères. Un huis clos californien en temps de peste, où un fils tente le portrait de sa mère spirituelle.

Petit, Guillaume THOMAS voulait être magicien. On lui a dit : « la magie n’existe pas ». A contrepied, il s’arme alors d’un appareil photo et d’une caméra pour attester de la vitalité des fées. Sa recherche l’emmène sur la trace de ceux·elles qu’il qualifie de « personnages », des êtres épris·es de liberté et qui s’affirment dans leur multiplicité, leur recomposition infinie. Formé en photographie et vidéo à l’École nationale supérieure des Arts Décoratifs à Paris, ainsi qu’à la School of Visual Arts à New York, il réalise son premier film « Life damages the living » en 2021 lors de sa résidence au Fresnoy – Studio national des arts contemporains.

Un homme à l?aspect distingué (l?artiste Richard Layzell) est apparemment pris au piège dans un vide de couleur toujours changeant, enfermé dans un jeu de pouvoir avec une caméra utilisée de façon perverse. Présentateur de télévision, muet, prisonnier, et charismatique, il est tour à tour charmant, menaçant, instructif, confus. Parfois, il semble avoir de grands pouvoirs. Une voix-off nous dit des choses extraordinaires ? combien cet homme est vraiment spécial ? le premier homme à avoir un bébé. Des images de flashs hallucinogènes ponctuent le champ des couleurs pour nous donner une vision de la logique inquiétante et étrangement futuriste de son monde. Une critique science-fiction et rétro et de la représentation. Une méditation ludique sur l?idiotie de vouloir donner un sens aux choses.

Thomas Jennet est réalisatrice et membre fondateur du collectif londonien Exploding Cinema Collective. Son ?uvre est issue de la culture anarchiste et expérimentale du cinéma underground et de la scène alternative londonienne des années 1990. Son travail est diffusé les festivals de film à une échelle internationale, avec des rétrospectives récente aux Anthology Film Archives de New York (USA) et aux Rencontres Video Art Plastique en France. Plus récemment encore, ses ?uvres ont été exposées sous forme d?installation vidéo dans des galeries, à Londres (Royaume-Uni), en Europe et en Amérique du Nord, avec une récente exposition individuelle à PEER et une grande exposition à venir à la Matt?s Gallery de Londres. Son travail a débuté comme un hybride de performance verbale et de projections publiques ; il combine désormais une large variété de langages cinématographiques, allant du soap-opera à la réalisation de films expérimentaux et underground, de la science-fiction à la comédie musicale. Son travail aborde des sujets très humains et est souvent tristement comique.

"J'installe une boite à outils à penser personnelle customiser seulement pour toi. Tu la mets en marche par le simple fait de cligner des yeux. A partir de maintenant, tes pensées vont êtres concentrées et vraies."

I live and work in London, and am a founder member of the Exploding Cinema Collective ( ww.explodingcinema.org) I am pathway leader of the Fine Art Time Based Media course at the University of the Arts London. My single screen work is distributed internationally by Video Data Bank www.vdb.org

A cause de la guerre les choses changeaient. il ne restait que très peu de jouets et de jeux. la musique état presque finie. L'eau du robinet avait un goût de femme et la télévision s'allumait par spasmes...

mon travail est ma façon hybride de faire se rencontrer la culture pop, l'expérimental et les formes narratives. J'ai récemment présenté mon travail : Anthology Film Archives, New York, Centre d?Art Contemporain de Basse-Normandie, France The Gene Siskel Film Center, Chicago USA. je suis membre fondateur de EXPLODING CINEMA COLLECTIVE (www.explodingcinema.org) à Londres. mon travail est issu de la scène cinéma alternative londonienne des années 90. Mon travail solo est distribué à l'international par Data Bank www.vdb.org. J' enseigne au Wimbledon College of Art, et à la University of the Arts, London.

Quatre mannequins, deux chats et un portail pour apporter la félicité dans leur tentative de symétrie. Une boule de cheveux, un mélange de brindilles dont l?amour est mort et qui sont tristes.

Mon travail a commencé à pousser à partir de la scène underground media de Londres dans les années 90 qui était animée par les artistes. Un membre fondateur du collectif Exploding Cinema basé à Londres dont j'avais visionné et projeté des films, ainsi que des vidéos et des installations,travaille sur le circuit de l?International Experimental Media Festival depuis 9 ans. Je vis dans le sud de Londres avec un réalisateur, Paul Tarrago, et Olive, son chat. Je suis un chargé de cours expérimenté au Wimbledon College of Arts à la University of Arts de Londres. Mes travaux vidéos sont distribués par la Video Data Bank à Chicago. Récemment, j?ai eu des rétrospectives de mes travaux dans plusieurs endroits : l'Anthology Film Archives de New York, le Centre d?Art Contemporain de Basse-Normandie et le Gene Siskel Film Center de Chicago aux Etats-Unis. Il y a aussi eu une tournée de mes travaux à la National Review of Lie Arts de Glasgow.

What can structuralist film techniques contribute in the age of machine vision? In the experimental film, a robot arm investigates a 200,000 year old hand axe and an 17th century mechanical calculator (the first fully functional four stage computation device), each are placed on an octagonal mirror. The robotic arm passes through interfaces of geology, archaeology, mechanics and computation and intimately explores its own coming into being as a product of human engineering. Excerpts from the latest EU Report to the Commission on Civil Law and Robotics, published in January 2017, punctuate the video, describing the need to define the subjectivity of intelligent machines, as well as their legal status and the liabilities that derive from their implementation. The critical, uncertain and undetermined state of intelligent machines’ subjecthood emerges through the eyes of a human society themselves struggling with this ecotechnical revolution, “that leaves no aspect of society untouched”. Crucially, the set is observed by an Artificial Intelligence object recognition device, or LiDAR - a form of sense which AI systems use to perceive their haptic environment. Deep Time Machine Learning was developed collaboratively with the laboratories of robotics and surface analytics at the Bosch Corporate Research and Advanced Engineering Campus and received support from the Natural History Museum, Stuttgart and the Phillip Matthäus-Hahn Museum, Kornwestheim. Jol Thomson’s experimental film elaborates a deep history of tool use from the Paleolithic era with a trajectory to the not-too distant future of algorithmic, AI governance. The explorations of this work contribute to a contemporary media ecology, a history and philosophy of technology in machine vision, and underpins the symbiotic relationship between agential forms of geology, technology, and “intelligent beings”.

Jol Thomson is an artist, sound designer, and researcher working in the interstices between critical theory, particle physics, environmental humanities, STS, and experimental music and moving image. He is currently pursuing a practice-led Phd at the University of Westminster, London. He received his meisterschüler in Fine Art from the Städelschule, Frankfurt in 2013. In 2016 he won the MERU Art*Science Award for his a/v composition G24|0v, a collaboration with the “coldest object in the observable universe”. He has participated in a number of international residencies, and in 2016-2017 he was a fellow of the Akademie Schloss Solitude, Stuttgart. Recent exhibitions include: Blind Faith: Between the Cognitive and the Visceral in Contemporary Art at the Haus Der Kunst, Munich (2018); Open Codes: Living in Digital Worlds, ZKM (Center for Art and Technology), Karlsruhe (2017-2018); and Quantum Real: Spectral Exchange at Exhibition Research Lab, Liverpool (2019).

Electronic Arts Intermix (EAI) est l?un des plus importants centres mondiaux de ressources et de recherches sur l?art vidéo et les nouveaux médias. Fondé en 1971 par le galeriste new-yorkais Howard Wise, dont la galerie éponyme de la 57ème rue fut à une époque l?épicentre de l?art cinétique et des travaux multimédias, l?EAI avait pour objectif d?affirmer le rôle de la vidéo comme moyen de communication et d?expression artistique. En 36 ans d?existence, l?EAI a soutenu inconditionnellement les artistes et leurs travaux, jouant un rôle fondamental dans le développement de l?art vidéo, disséminant dans la monde plus de 3000 ?uvres réalisées par près de 175 artistes. Aujourd?hui, l?EAI se concentre sur la distribution et la préservation de sa phénoménale collection d??uvres. Une collection qui regroupe aussi bien des travaux historiques des pionniers de la vidéo que des ?uvres contemporaines d?artistes émergeants. Une collection, véritable mémoire des arts vidéos et nouveaux, disponible et consultable, en partie, sur le catalogue en-ligne de l?EAI (http://eai.org/). Mais si l?EAI soutient les artistes, en mettant notamment à leur disposition des outils digitaux et analogiques de montage, si l`EAI distribue et préserve son catalogue, l`organisation est avant tout un acteur culturel engagé, dans la promotion des arts nouveaux et dans leur vulgarisation. Elle met à disposition du public une salle de visionnage, où l?intégralité du catalogue est consultable. Elle organise des expositions et des programmes publics.

Depuis l?an 2000, John Thomson est Directeur de la Distribution de l?Electronic Arts Intermix (EAI). Il est aussi co-directeur et fondateur de Foxy Production, une importante galerie new-yorkaise d?art contemporain. Depuis les années 80, il est actif internationalement dans les arts nouveaux. Avant de déménager à New York en 2000, John Thomson effectuait des recherches sur la digitalisation et la distribution des arts multimédias au Lux Centre, à Londres. En 1998, il a été le coordinateur du Pandaemonium Festival à Londres et, en 1997, il a co-préparé la première exposition de l?Image en Mouvement du Lux Centre. Il a aussi organisé des programmes d?arts nouveaux et des expositions pour la Pacific Film Archive de Berkeley en Californie, pour la Staatsgalerie de Stuttgart, pour la Tate Britain à Londres, pour l?Institute of Contemporary Art de Londres, pour l?Exit Art à New York et pour le Smack Mellon à Brooklyn. Il a donné des conférences sur les arts nouveaux, à la London Institute et à la School of Visual Arts à New York, et a écrit pour des magazines (Mesh, à Melbourne, et l?Art In Culture, Séoul) et sur la préservation des arts nouveaux (Art Bewtween Zero and One : A Manual of Digital Art, Christoph Kehl et Beat Raeber, eds., Bâle).

A Short film about War is a narrative documentary artwork made entirely from information found on the worldwide web. In ten minutes this two-screen gallery installation takes viewers around the world to a variety of war zones as seen through the collective eyes of the online photo sharing community Flickr, and as witnessed by a variety of existing military and civilian bloggers. As the ostensibly documentary `film` plays itself out, a second screen logs the provenance of images, blog fragments and gps locations of each element comprising the work, so that the same information is simultaneously communicated to the viewer in two parallel formats -on one hand as a dramatised reportage and on the other hand as a text log. In offering this tautology, we are attempting to explore and highlight the way in which information changes as it is gathered, edited and then mediated through networked communications technologies or broadcast media, and how that changes and distorts meaning -especially for (the generally wealthy minority of) the world`s users of high speed broadband networks, who have become used to the treacherously persuasive panoptic view that google earth (and the worldwide web) appears to give us.

Jon Thomson (b. London) and Alison Craighead (b. Aberdeen) are fascinated how globalisation and networked global communications have been re-shaping the way we all perceive and understand the world around us. They live and work in London and Kingussie in the highlands of Scotland making artworks and installations for galleries, museums and site-specific locations that include the worldwide web. Recent exhibitions include; Kumu Art Museum, Tallinn; Berkeley Art Museum, California; Highland Institute of Contemporary Art, Scotland; Artists Space, New York; Tang Contemporary, Beijing; Moderna Museet, Stockholm; and Dundee Contemporary Arts. Jon is Reader in Fine Art at The Slade School of Fine Art, University College London, while Alison is Reader in contemporary art and visual culture at University of Westminster and lectures in fine art at Goldsmiths University, London. For information on forthcoming, current and previous work, you can follow their blogat http://thomson-craighead.blogspot.com and explore their archive website at http://www.thomson-craighead.net

Marungka Tjalatjunu (Dipped in Black) follows Yankunytjatjara man Derik Lynch's road trip back to Country for spiritual healing, as memories from his childhood return. A journey from the oppression of white city life in Adelaide, back home to his remote Anangu Community (Aputula) to perform on sacred Inma ground. Inma is a traditional form of storytelling using the visual, verbal, and physical. It is how Anangu Tjukurpa (story connected to country / dreaming / myth / lore) have been passed down for over 60,000+ years from generation to generation.

Matthew Thorne is a South Australian filmmaker and artist whose work explores contemporary 'Australian' identity, spirituality, relationship to land, and masculinity through film, photography, and reenactment. His recent docufiction short film, Marungka Tjalatjunu (2023), made with Yankunytjatjara man Derik Lynch, won the Silver Bear Jury prize at Berlinale. Matthew also contributed photography to Nick Cave and The Badseed's album Ghosteen (2019), Justin Kurzel's True History of the Kelly Gang (2019), and Ridley Scott’s Alien: Covenant. In 2022, Matthew received the Adelaide Film Festival & Samstag Gallery of Art Commission. - Derik Lynch is an initiated Yankunytjatjara man. He is a performer, filmmaker, and artist who grew up between Alice Springs and remote Communities in the Northern Territory and South Australia. He has worked both nationally and internationally in theatre, film and TV. Marungka Tjalatjunu is Derik’s debut as a writer/director for screen telling part of his own story.

En 1982, à Walt Disney World de la Floride, était le vernissage de la Centre EPCOT, un peu retard pour un tel projet utopique moderniste. Le parc original présenté un manège appellé ?Horizons,? qui a été parrainé par GE. Elle a montré un avenir où la technologie et l`innovation couplée à l`unité de la famille allait évoluer dans des territoires passionnants, et jusque-là inimaginable?avec des colonies dans l`espace et dans le fond des océans de la Terre. En 2000, le manège a été démoli pour faire place à un manège à sensation immersive intitulée ?Mission: L`espace." L`histoire dans cette vidéo, d`une famille à faire des recherches scientifiques sur une colonie dans le complexe Chamaleon dont les livraisons et le financement inexplicablement cesser d`arriver, et qui est déterminée à survivre comme ils peuvent, accompagner archives séquences vidéo Hi-8 du trajet.

Joshua Thorson est un vidéaste et écrivain basé à New York. Il travaille avec le récit conceptuel, l`exploration et l`exploitation de l`échange narratif à travers les thèmes de la science, la religion, la transcendance, l`authenticité, l`idéalisme, et les traumatismes. Utilisation décalages tonal et l`économie rigoureuse, cet ouvrage cherche à la fois à répondre aux attentes et usurpent, l`ouverture de «l`histoire» de l`ontologie. Thorson a présenté son travail dans les musées, galeries et théâtres à l`étranger.

?The father shoots the first wild boar, it is being decomposed and skinned in the basement and hung in the laundry. 20 cents costs a glimpse on the shot animal. The nanny has to clean the wild boar teeth and to put them in a box.? What defines memory and what exactly does it set about? In Lena Maria Thüring?s video work ?The House? half a century of family history is reflected upon a detached house?s empty walls: Slowly and continuously the camera runs through hallways, rooms, and the staircase, while a background voice narrates the past. Thüring?s interaction with time and space in the film consecutively plays with the expectations of the observer and questions the relationship between documentation and fiction. By objectification of word and vision in the formal realisation, Thüring hence confronts the viewer with his own past. Annette Amberg

Lena Maria Thüring is born 1981 in Arlersheim, BL, Switzerland her native place is Basel, BS, Switzerland. She lives and works in Zürich, Switzerland. 2002 Artistic preparatory course at the School of Art Zurich, Zurich 2002?2007 Photography at the School of Art Zurich, Zurich since 2005 partial artistic cooperation with Annette Amberg.

Vargtimmen?After a Scene by Ingmar Bergman is the exact reconstruction of a scene in Bergman?s 1968 film of the same name. Frame for frame, Georg Tiller and his cameraman Claudio Pfeifer reproduced the same shots?with the crucial difference that no actors are visible. All we see are the ocean and cliffs in black and white, steep rock formations, and with them the quiet surface of the water, ruffled slightly by the breeze. The soundtrack, which had no dialogue in the original either, was taken from the first film and adds narrative structure to the lonely landscape. While in Vargtimmen Bergman concentrated on the faces of people, the focus of Tiller?s film experiment is space, and nature. The camera glides over the barren countryside, and stone slabs with numerous cracks and gaps lie in the sun, providing a stark contrast with the velvety smooth, nearly black water. In Bergman?s film a nightmarish drama plays out before this background: In a frenzy, a man kills a boy, then lets the lifeless body slip into the water. Without human figures, the space itself becomes an actor. The camera examines the section of coastline from a number of different angles, includes the horizon to add a painterly touch, then the cliffs loom threateningly into the sky again. The music gives these images of empty countryside a dramatic arc, the tragedy in the original story can be sensed. At the same time the filmic representation of the landscape enters the foreground, like an empty stage becoming a projection screen. Tiller has created a study, and its conceptual rigor opens up a broad field of associations involving perception, representational forms and the construction of filmic space. (Andrea Pollach) Shot for Shot reconstruction of a scene from the film Vargtimmen (1968) by Ingmar Bergman using the same technical devices - Lenses, Framing, Length of Shots as well as movements of the Camera. The absence of the bodies of the actors opens the room for a complete concentration on the filmic space. This reconstruction is understood as a reenactment by the reconstructeur, a becoming of Ingmar Bergman, thus reenacting a specific style of directing.

Born 1982 in Vienna. Studied Philosophy and Russian at the University of Vienna, since 2000 at the Academy of Fine Arts, Vienna. Studied from 2005-2006 at the University of Music and Performing Arts Vienna, dept. film and television. Studies since 2006 at the Academy of Film and Television, Berlin.

La voiture de quelqu'un est en feu. Quelqu'un s'est fait défoncer la tête. Quelqu'un s'est fait voler son portable. L'adolescent perturbateur rompra-t-il le cercle vicieux de violence, qu'il a peut-être déclenché lui-même?

Tin Žani? a obtenu un Master en réalisation de fiction à la NFTS - National Film and Television School, Beaconsfield (Royaume-Uni), en tant que boursier du Croatian Audiovisual Centre, Zagreb (Croatie). Avant d’aller à la NFTS, il a complété une Licence en production cinématographique et théâtrale à Zagreb (Croatie). Ses deux premiers films courts, "Komba" (2011) et "Manja?a" (2014), ont reçu des prix et des mentions spéciales, et ont été présentés dans des festivals de cinéma, ainsi que des festivals et marchés du film de premier plan, notamment au Festival international du film de Rotterdam (Pays-Bas); au Festival international du court métrage de Clermont-Ferrand (France); au Tampere Film Festival, Tampere (Finlande); au Sarajevo Film Festival (Bosnie-Herzégovine); au Internationales Kurtzfilm Festival Hamburg, Hambourg (Allemagne); et au Zagreb Film Festival (Croatie).

The sonic fabric of 2nd Person, a multi-channel video installation, is formed through an array of women’s voices reflecting on topics such as coming of age, sex, aging and death. Visual shifts within nine images spatially strung together, correspond to the voices loosely, reactive to the scenes invoked by the women’s stories, and to the emotive range of the voices’ individual and combined music. The piece includes conversations with women of different ages, backgrounds and circumstances, who reflect on their past and current hopes and anxieties, on their understanding of the concept of love, on a de-centering of self that comes with parenting, on touching and inhabiting an aging body, on their discomfort with an imposed gender label, and more. The protagonists are documented performing distinct activities (e.g. producing art, walking, cooking, playing an instrument, exercising etc.) in locations ranging from Illinois, Michigan, Arizona, California and New York, to Egypt and Romania. Additional footage reflecting one of the women’s dreamscape, was shot in an underwater village in Argentina. The video is 55 min. long, and is composed of a concurrent display of short clips that focus on a specific topic, and are each told by a single participant. The clips are threaded to form a web of themes and motifs, both verbal and visual, together generating an ongoing conversation (without beginning or end) on growing up and aging, friendship, love, motherhood and the death of parents.

An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada, Israel and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.

How do memories actually come about? Isn't it a process that involves both – forgetting and reinventing? This construction process of memories is symbolized in the film using architectural fragments. The camera moves through structures reminiscent of film sets as well as abandoned places. We are reminded of places where we’ve been before, we are guessing. The Australian voice actor, heard from somewhere in the dark, remembers details from his way to school in Melbourne, reports on forays through foreign cities and describes these structures from his memories. His voice is fading, but is remembered by tape machines.

Thadeusz Tischbein is a Germany-based video artist. He is interested in cruel intersections of history and everyday live. In his films he uses often documentary footage along with models and archival material to develop a fictionalized version of a documentary, a forensic speculation. HOW THE WOODEN STRUCTURES SURVIVED IN MY MIND (2023) is using architectural leftovers to investigate the (re)construction of memories. In 2021 a series of nine short films using poems by Joseph Brodsky was produced. The 2017 video essay SNOW WHITE (2K Cinemascope, 19:40 min) is a journey to the dead bodies in mausoleums, churches and museums. THE ATLAS OF THE WOUNDED BUILDINGS (HD, 12:56 min, 2016) is an attempt to examine narrations written in bullets holes. Thadeusz Tischbein studied Visual Arts with Candice Breitz in Braunschweig/Germany and Clemens von Wedemeyer in Leipzig/Germany. His films were invited to many German and international film festivals, among others EMAF Osnabrück, IndieLisboa, Manifesta 12 Palermo (collateral event), Rencontres Internationales Paris/Berlin, Stuttgarter Filmwinter, Filmfest Dresden. Most of his films started as multichannel installations and where shown for instance in Teatro Franco Parenti, Milan/Italy or Schaubuehne Lindenfels Leipzig/Germany. He lives and works in Leipzig/Germany.

What role can culture play, when dead bodies are not burried after death, but being used for other purposes “Snow White” examines this question, using stalinist Mausoleums, preparated animals in Natural History Museums and relics in churches. What form of story telling is being used to hide actions and translate them?

Thadeusz Tischbein is a Germany-based video artist. He studied between 2008 and 2016 in Leipzig, Braunschweig (Germany) and Bucharest (Romania) with Candice Breitz, Clemens von Wedemeyer and Günther Selichar. His 2017 video essay SNOW WHITE (2K Cinemascope, 19:40 min) is a journey to the dead bodies in mausoleums, churches and museums. In THE ATLAS OF THE WOUNDED BUILDINGS (HD, 12:56 min, 2016) he is trying to examine narrations written in bullets holes. INVENTORY (HD, 16:9, 5:49 min) from 2015 is talking about the strange living room of so called office plants.

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

A Third Version of the Imaginary traces an encounter with the video and film library of the Kenya Broadcasting Corporation in Nairobi. We follow the station?s librarian through tightly-packed shelves of video cassettes: he is searching for a specific image, and must sift through the identifying paperwork from a number of tapes. As he methodically moves among the stacks, a Swahili voice-over speaks about the arrival of video technology in Kenya and its impact on the archiving of television images: video may have cheapened production, but its material expense put pressure on storage. Later, the librarian converts a basement storage closet into a makeshift cinema, in order to screen some 16mm film material. The voice-over shifts accordingly, moving from video to film, and to the linguistic problem posed by the very word ?image? in Swahili. A visual and narrative echo chamber, this video addresses video?s address of film: the material facts of these media become the aesthetic facts of the work.

Benjamin Tiven lives and works in Brooklyn, New York, US. Forthcoming exhibitions, 2014: ICA Philadelphia (solo); gallery 1/9 Unosunove, Rome, IT (in collaboration); Courtisane festival, Ghent, Belgium. Recent exhibitions: Henningsen Gallery, Copenhagen, DN; Westfälischer Kunstverein, Münster, DE; Charlottenborg Kunsthal, Copenhagen; Bronx Museum of Art, Bronx, NY; Vivo Media Arts Center, Vancouver; Center for Curatorial Studies at Bard College. Recent film screenings: Rotterdam International Film Festival; Migrating Forms, NY; Museum of the Moving Image, NY; Cinéphémère, FIAC, Paris, FR; Vienna International Film Festival, AT; Arsenal Cinema, Berlin, DE; FID Marseille, FR; RIDM Festival, Montreal, QB; Oberhausen Short Film Festival, DE; 25FPS Festival, Zagreb, HR; Images Festival, Toronto, ON. Journal contributions: Triple Canopy, Nka: Journal of Contemporary African Art, Bidoun, Bulletins of the Serving Library, Roulotte issue #10, ACM, Barcelona, ESP. Public presentations, 2013: the Drawing Center; the Colloquium for Unpopular Culture, Westfälischer Kunstverein.

SYNOPSIS Out of the black night she emerges. Her waving soft fair hair reminds the glamour of the Hitchcock blondes. Her pale skin fragile like a china doll. She turns her head and looks at us.

BIOGRAPHY Alain Tjiong (The Netherlands, 1991) is currently a master student film at the School of Arts (KASK) in Ghent, Belgium. His films are first and foremost a means of personal expression, a way to communicate his feelings and his thoughts with a audience. While still operating in the field of narrative fiction, he is always searching for the bounderies of narrative cinema and trying to rediscover its (lost) relevance.