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Le film explore, analyse, le thème de la modernité efficace, dont la dernière conséquence sera l'extinction; le discours d'Ovidiu Tichindeleanu a pour toile de fond, pour motif, le présent post-apocalyptique de la salle Omnia, qui prend ainsi le sens d'un avertissement: nous sommes à nouveau au bout d'un chemin, celui du culte de la production.

Mona Vatamanu est née en 1968, et Florin Tudor en 1974. Ils vivent et travaillent à Bucarest (Roumanie). Leur pratique consiste en une observation attentive et une prise en compte des éléments matériels de la réalité. Ils choisissent souvent ce qui est éphémère, petit, marginal, comme la poussière, la rouille, le feu, le duvet des graines d’un arbre, ou la terre. Leur travail avec ces matériaux peut se faire le point de départ d’un questionnement à propos des relations sociales, des changements technologiques et économiques, et des conflits politiques.

An interview with philosopher Ovidiu Tichindeleanu engages issues of space exploration, imagination and propaganda in the socialist utopia, the post-communist condition as liberal colonisation, linked – Ovidiu proposes – to other sites of decolonisation through a new historical consciousness. The protagonist's reflection departs from the unstable nature of today's ruins: these are the ruinous future of different pasts, of different messianisms, or modes of conceiving the notion of historical destination in the last decades. Ovidiu's analysis revolves around the reciprocal construction of pasts and futures, ideas of renewal or historical horizon, temporal or spatial 'elsewheres'. The backdrop for the conversation the film proposes is the Gagarin Youth Centre, in Chisinau, Moldavia, where most of the footage was filmed. Now deserted, and waiting to be replaced by a construction more adapted to today's oligarchic liberalism, the building reads like a palimpsest of unrealized historical projections, perhaps captured in the large mosaic of outer space labor: a worker ploughing the universe. "An entirely different history of the world was about to be written. The feeling and the memory of this divergence is still active and alive, and it is awakened in connection with those utopias that actually became daily life and are now the history of the people who grew up in the tradition of real socialism. But if the post-communist transition meant a colonisation, and if real socialism was partially an attempt to write a history divergent from that of Western modernity, then what is left of that, what is alive?" Ovidiu's insistence on communism as a heresy, as deviation from other forms of imagining the modern selfhood and society, may have left something behind, a residue that might activate its catalytic, transformative potential. In his words, this is "the power of a dream to bring people together and create another history".

Mona Vatamanu and Florin Tudor have been collaborating since 2001, producing mixed-media installations, actions, and videos through which they confront the traumatic legacy of Communism in their native Romania and Eastern Europe, while wrestling with the ongoing challenge of how to process history. Remnants of Socialist architecture figure prominently in their work, serving as visual evidence, in their words, of “the complicated situation of people living after these ideals failed.” While the Socialist past is the focus of most of their evocative installations and atmospheric films, Vatamanu and Tudor also find connections between the history they know intimately and struggles worldwide. In Rite of Spring (2010), for example, they film children burning the white fluff of the poplar tree, seeing in each mini-conflagration a symbol of renewal and of such incendiary and hopeful revolutionary movements as the Arab Spring.

In this film, the simple and poetic gesture of Roma children starting small fires in which to burn mounds of white poplar fluff implies a promise?the promise of renewal. Some are street kids, some have a family and some do not, some have a home, some are nomadic, and some just squat a derelict house without a roof. Occasionally the mesmerising play of the children leads the fire to consume a tree, and then fire fighters rush to extinguish it, leaving the burned trunk as a black drawing on the sky. This yearly ritual performed by kids is a metaphor for the spark that sets the existing order on ?fire,? and leads to a change. The sparks and small fires in the film symbolically suggest associations with many things?they could be the fires in the French banlieues in recent years, the perpetually deported and repatriated Roma people through out Europe, anti-war protesters against the invasions in Iraq and Afghanistan around the globe, or this year?s uprisings in North Africa and the Middle East?all of which point to the hope of a more equal world. (Mona Vatamanu & Florin Tudor)

Mona Vatamanu & Florin Tudor, born 1968/1974, work together since 2000. Based in Bucharest, currently living in Berlin (DAAD Berliner Kunstlerprogramm) Selected Solo Exhibitions: 2009 - 
Mona Vatamanu & Florin Tudor, All Power to the Imagination!, Secession, Grafischess Kabinett, Vienna; Mona Vatamanu & Florin Tudor, Surplus Value, BAK, basis voor actuele kunst, Utrecht; 2003 - 
Living Units, Project Room, Ludwig Museum, Budapest. Selected Group Exhibitions
 : 2011 - Untitled (12th Istanbul Biennale), Istanbul; Call the Witness, Roma Pavilion Collateral Event, 54th Venice Biennale, Venice; Image projected until it vanishes, Museion, Bolzano; 2010
 - Flying Down to Earth, FRAC Lorraine, Metz;
Modern Dialect, M HKA, Museum of Contemporary Art, Antwerp;
Shockworkers of the Mobile Image, 1st Ural Industrial Biennial, Ekaterinburg;
Over the Counter, Mucsarnok Kunsthalle, Budapest; 2008 - 5th Berlin Biennial, When Things Cast No Shadow, KW Institute for Contemporary Art, Berlin;
6. Gyumri Biennial, Transformation of History or Parallel Histories, Gyumri;
Art as Gift, Periferic Biennial 8, Iasi;
Like an Attali Report, but different, On fiction and political imagination, Kadist Art Foundation, Paris; 2007 - 52nd Venice Biennial, Romanian Pavilion, Low-Budget Monuments, Venice.

Sleeping Beauty was poetically made in Super8 later digitalized and it was inspired by a short story I wrote in Paris in 1973 about a woman who waits eternally for her lover who never shows up.

Regina Vater is one of the pioneers in the use of video as an art form. Her first work in video, shot in Paris in 1974 upon the invitation of Ruth Escobar, was a poetic documentary about Escobar’s theater group from S.Paulo, which was later finished by Andrea Tonachi. Regina made her second video, “Miedo”, in 1975, sponsored by CAYC of Buenos Aires. Most of her extensive video work was realized with very limited budget. Her videos were shown in several American festivals. Examples of the many awards and honors her work has received are, among others: honors from the American Film Institute; the Best of ACTV Programming; Video Travel Grants Pilot From the Arts International & National Endowment; "My Own Home Town" award for video; GPIA grant from Program for Interdisciplinary Artists - Southwest Alternate Media Project and New Jersey Council for the Arts Fellowship.As an artist, Regina has also received many other international awards, such as a Guggenheim Fellowship in 1980 which brought her to the U.S. From 1980 to 1985, she lived, worked and had many shows in New York. Regina lives and work in Rio de Janeiro Brazil.

The film Genesis (The Other Shapes of Me) is simultaneously a part of the installation rs548049170_1_69869_TT as well as a stand-alone art film. The film documents a year-long performance during which a large piece of fabric that codifies and contains all of my genetic information is woven by my mother on one of the first computers of history, the Jacquard loom. In the tension between the loving gestures of a mother and the automatic movements of a mechanical loom, Genesis gives form to my reflections on technical reproducibility, the materiality of information, and on the interplay between biological, mechanical and computational life. The series The Other Shapes of Me is based on the translation of my genetic code into fabric. This stratified series of interrelated works is the result of my research into the origin and current applications of binary technology: from weaving to programming, algorithms, software, automation processes, up to the complete computerization of a human being.

Emilio Vavarella is an Italian artist working at the intersection of interdisciplinary art practice, theoretical research and media experimentation. His work explores the relationship between subjectivity, nonhuman creativity and technological power. It is informed by the history of conceptual art, digital and network cultures, and new media practices. Vavarella moves seamlessly between old and new media, and exploits technical errors and other unpredictabilities to reveal the logic and the hidden structures of power. Esteemed venues that have exhibited Vavarella’s work include: MAXXI – Museo nazionale delle arti del XXI secolo; KANAL – Centre Pompidou; Hermitage Museum in St. Petersburg; MAMbo – Museo d’Arte Moderna di Bologna; Museum of Contemporary Art – Zagreb; Museu de Ciències Naturals of Barcelona, The Photographer’s Gallery of London, Museo de Arte de Caldas; Museo Nacional Bellas Artes in Santiago; Museu das Comunicações of Lisbon, National Art Center of Tokyo; Eyebeam Art and Technology Center and Museum of Contemporary Art Vojvodina. His artworks have been exhibited at film festivals such as Toronto’s Images Festival; Torino Film Festival, and the St. Louis International Film Festival, and at many international media art festivals, among which: EMAF – European Media Art Festival; JMAF – Japan Media Arts Festival; Stuttgarter Filmwinter – Festival for Expanded Media; BVAM – Media Art Biennale; and NYEAF – New York Electronic Arts Festival. Vavarella has been awarded numerous art prizes and grants, among which the Exibart Art Prize (2020); Italian Council award (2019); Premio Fattori Contemporaneo (2019); SIAE – Nuove Opere (2019); the NYSCA Electronic Media and Film Finishing Funds grant (2016); the Francesco Fabbri Prize for Contemporary Art (2015) and the Movin’Up Grant (2015). He has been invited to present his work at: Harvard Advanced Leadership Initiative; Istituto Italiano di Cultura – New York; ISEA – International Symposium on Electronic Arts; Goldsmiths University of London; the University of East London; the School of the Art Institute of Chicago; and SIGGRAPH. His academic writings have been published in peer-reviewed journals such as Leonardo – The Journal of the International Society of the Arts, Sciences and Technology (MIT Press), Digital Creativity (Routledge), and CITAR Journal – Journal of Science and Technology of the Arts. His writings have also appeared in Behind the Smart World: Saving, Deleting and Resurfacing Data produced by the AMRO Research Lab and in exhibition catalogues like Low Form: Imaginaries and Visions in the Age of Artificial Intelligence (MAXXI and CURA Books); That’s IT! (MAMbo), and Robot Love (Niet Normaal Foundation). His work is regularly discussed in art magazines, academic books and peer-reviewed journals, and has been covered by all major global media outlets. His most recent artist book, published by Mousse, is entitled rs548049170_1_69869_TT. Vavarella is currently working toward a PhD in Film and Visual Studies and Critical Media Practice at Harvard University and is the artist in residence of the Broad Institute of MIT and Harvard. He holds an M.A. cum laude in Visual Arts from Iuav University of Venice, with study abroad fellowships at Bezalel Academy of Arts and Design, Tel Aviv and Bilgi University of Istanbul and received a B.A. cum laude in Visual, Cultural, and Media Studies from the University of Bologna.

Cernés par la férocité du monde, cinq jeunes artistes tentent de transcender l’angoisse contemporaine avec un projet collectif en guise de futur ou d’ultime extase. Réfugiés dans l’Hôtel du Belvédère, audace architecturale des années 30 en forme de paquebot, ils tentent une recherche chaotique à partir de Beethoven, exemple incongru d'un dépassement héroïque de la catastrophe: faire de la musique sans l’entendre, envers et contre tout. Alix Boillot, Noémie Develay-Ressiguier, Théodora Marcadé, Gaël Sall et Ferdinand Vayssié sont plus ou moins eux-même et les pseudo-héros d’une fable au titre italien, à la frontière franco-espagnole, à bord d’un bateau ivre resté à quai. Une histoire de dépression et de jouissance qui hésite entre le pathétique et le poétique. Les vertiges existentiels de la création comme allégorie désinvolte d’un naufrage collectif consenti. Il faut bien se souvenir que c’est un film comique.

César Vayssié est diplômé de l’ENSA Dijon, il a été pensionnaire à la Villa Médicis à Rome (1996-97). Artiste hors catégorie, il raconte la confusion entre art, politique et discours amoureux. Ses films et performances mélangent avec insolence les identités artistiques à la recherche de phénomènes narratifs qui engagent le corps. Ses oeuvres sont montrées dans de nombreux lieux et festivals à travers le monde. Son film UFE a remporté le Prix Georges De Beauregard National au FID Marseille 2016. Le film NE TRAVAILLE PAS a obtenu le Fipresci Prize à la Viennale 2018.

A young man, the lonely character of this tale, is on a journey of (self) discovery inside an unbounded, abstract space, where primitive Nature reigns. In this space, the faint glimmers of the Man passage are offered by some constructions in ruins. However, most of the surrounding is uncharted Nature, this seems to have a magnetic effect on the character who, still an outsider, feels the urge to explore. Although he doesn`t know exactly what he is searching for, his journey is ordained by a calling – and his (uphill) journey progressively becomes more grueling.

Pedro Vaz (Maputo, 1977) obtains a degree in Fine Arts - Painting, Faculty of Fine Arts, University of Lisbon in 2006. This year, he exposed Atlântica individually in Baró Gallery in São Paulo, Brazil, Neblina in Galeria 111, Lisbon and Monólito in Casa da Cerca - Contemporary Art Centre in Almada, Portugal. In 2014 was awarded in the international competition "Beers Award for Emerging Contemporary Art" in London, and was granted a scholarship for the development of the project "Tour du Mont-Blanc"  by the Calouste Gulbenkian Foundation and the Duplacena. In the same year, Pedro Vaz exhibits: "Tour du Mont-Blanc" integrated into the Festival Temps D`images 2014 and presented at the MNAC: National Museum of Contemporary Art Chiado, in Lisbon; "Stimmung" exhibited in CAPC - Circle of Fine Arts of Coimbra and co-exhibits "Raukoon - Pedro Vaz X João Queiroz" at CAPC (Coimbra Fine Arts Circle) alongside another project "50 Years of Galeria 111" in Lisbon. Pedro Vaz, lives and works in Lisbon and Sao Paulo.

Emerging from a regular and spontaneous practice of film, A Árvore is an encounter with and an homage to the filmmaker’s father Guilherme Vaz (1948-2018). Major Brazilian artist, composer, experimental musician and maestro, as well as one of the pioneers of conceptual and sound art in Brazil, his compositions often traverse the filmography of Ana Vaz in a constant dialogue between music, sound and place. Guilherme Vaz’s work is marked by his experience living at the recently inaugurated Brasília, where Ana was born, as well as the many years spent collaborating with remote indigenous communities in the Brazilian Amazon. A Árvore is a ghostly ritual woven through the fragments of a recorded conversation between father and daughter transposed to various significant geographies in life lines of both.

Ana Vaz (1986, Brazil) is an artist and filmmaker who works with cinema as an instrument. Her films, or rather her film-poems, travel through territories and events haunted by the perennial consequences of internal and external forms of colonialism, and their footprints on the earth as well as on human and different from human forms. Her practice can also take the shape of writing, critical pedagogy, installations, film programs or ephemeral events, which are expansions or developments of her films. Her works have been presented at film festivals, seminars and institutions such as Locarno Film Festival – Cineasti del presente; Berlinale Forum Expanded; IFFR, Rotterdam; Viennale; Palais de Tokyo, Paris; Pivô, São Paulo; Jeu de Paume, Paris; CPH:Dox; New York Film Festival – Projections; TIFF Wavelengths, Toronto; BFI, London; Cinéma du Réel, Paris; Tate Modern, London; LUX Moving Images, London; Tabakalera, San Sebastián; Whitechapel Gallery, London; MAM Museum of Modern Art, São Paulo; Matadero, Madrid; Jameel Arts Center, Dubai; Mostra de Cinema de São Paulo; Savvy Contemporary, Berlin; among others. She is a recipient of the Sundance Film Institute Nonfiction Grant (2019), the Film Society of Lincoln Center Kazuko Trust Award (2015), as well as grand prizes at Festival dei Popoli (2022), Entrevues Belfort (2022), FIDOCS (2022), Punto de Vista (2020), 25FPS (2020), Cinéma du Réel (2016), Media City Film Festival (2015), Fronteira Experimental and Documentary Film Festival (2015). Ana Vaz is also a founding member of the COYOTE collective, an interdisciplinary group working between ecology and political science through conceptual and experimental formats.

Antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes extreme-sport-tourism, monuments become geodata. A film-poem of an ecology of signs tracing a colonial history repeating itself: celebration and power relations, objects and fetishes, roots and branches, power and class relations in a struggle to find ones' place, ones' sitting around a table.

Ana Vaz (b. 1986, Brazil) is an artist and filmmaker whose films and other expanded works speculate upon the relationships between self and other, myth and history through a cosmology of signs, references and perspectives. Assemblages of found and shot materials, her films combine ethnography and speculation in exploring the frictions and fictions imprinted upon both natural and built environments and its multiple inhabitants. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, Ana was also a member of SPEAP (experimental research group in art and politics), a project conceived and directed by Bruno Latour. Her films have been showed at a number of international film festivals including the New York Film Festival, Visions du Réel, TIFF Wavelengths, CPH:DOX, Media City and Ann Arbor as well as solo and group shows at Rosa Brux (Brussels), Museum of Contemporary Photography (Chicago) and Temporary Gallery (Cologne). In 2015, she was awarded the Grand Prize for the international competition at Media City Film Festival as well as the Main Prize at Fronteira Experimental and Documentary Film Festival for her film “Occidente”. She is the 2015 recipient of the Kazuko Trust Award presented by the Film Society of Lincoln Center in recognition of artistic excellence and innovation in her moving-image work. Ana is also a founding member of the collective "Coyote" along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, a cross-disciplinary group working in the fields of ecology, anthropology, ethnology and political science through an array of cross­cutting platforms.

« Regardez bien les montagnes ! » : l`impératif vient de l`artiste Manfredo de Souzanetto, pendant les années de dictature au Brésil. L`exploitation minière était en train de détruire l`environnement dans l`État du Minas Gerais, dans le Sud-Est du pays. Par le biais du montage, Ana Vaz met en parallèle cette région et celle, géographiquement très éloignée, du Nord-Pas-de-Calais, également marquée par trois siècles d`exploitation minière. D`un côté, des montagnes érodées, dont les habitants subissent les glissements de terrain meurtriers. Les montagnes creuses, évidées, deviennent réceptacles d`une mémoire spectrale. De l`autre, en France, les traces de l`exploitation, un temps effacées, font aujourd`hui l`objet d`une revalorisation patrimoniale, et paradoxalement, les tas de déchets miniers sont devenus des montagnes, des réservoirs de biodiversité, la frontière entre nature et technique s`avérant insituable. La cinéaste surprend à chaque plan, la poésie primant sur tout discours militant ou environnemental – ainsi de la séquence des scientifiques qui mesurent les chauves-souris sous la lune. Le « regardez bien » pousse vers le détail, la matière visuelle et sonore. Jamais cependant détachées du politique : un plan du ciel pris du fond d`un ravin suffit à évoquer les fantômes de peuples indigènes éradiqués, dont subsistent encore cependant des peintures pariétales.

Née en 1986 à Brasilia, Ana Vaz est une artiste et cinéaste dont les films et le travail spéculent sur les relations entre le soi et l’autre, le mythe et l’histoire au travers d’une cosmologie de signes, références et perspectives. Des assemblages de matériau filmé et trouvé, ses films combinent ethnographie et spéculation dans l’exploration des frictions et fictions inscrites dans les environnements naturels comme bâtis. Diplômée du Royal Melbourne Institute of Technology et du Fresnoy-Studio National des Arts Contemporains, Ana Vaz fut également membre de SPEAP (SciencesPo School of Political Arts), un projet conçu et mené par Bruno Latour. Son travail est régulièrement projeté partout dans le monde : New York Film Festival, TIFF Wavelengths, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel, Lux Salon. En 2015, elle reçoit le Kazuko Trust Award présenté par la Film Society du Lincoln Center en reconnaissance de l’excellence artistique et de l’innovation de son travail filmique.

"Há terra !" est une rencontre, une chasse, un conte diachronique du regard et du devenir. Comme dans un jeu, comme dans une course-poursuite, le film oscille entre personnage et terre, terre et personnage, prédateur et proie.

Ana Vaz (b. 1986, Brasília) is an artist and filmmaker whose films and other expanded works speculate upon the relationships between self and other, myth and history through a cosmology of signs, references and perspectives. Assemblages of found and shot materials, her films combine ethnography and speculation in exploring the frictions and fictions imprinted upon both cultivated and savage environments and their multiple inhabitants. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, Ana was also a member of SPEAP (SciencesPo School of Political Arts), a project conceived and directed by Bruno Latour. Recent screenings of her work include the New York Film Festival – Projections, TIFF Wavelenghts, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel and Lux Salon. In 2015, she was the recipient of the Kazuko Trust Award presented by the Film Society of Lincoln Center in recognition of artistic excellence and innovation in her moving-image work. Ana is also a founding member of the collective "Coyote" along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, a cross-disciplinary group working in the fields of ecology, anthropology, ethnology and political science through an array of cross­cutting platforms.

Vientos del Oeste/Vientos del Este is a film about the frontier as a junction of eastern and western winds, an imaginary line crossed by multiple traditions, information and modernity embodied in the transit of people and merchandise through the chilean-bolivian high plateau. As an answer to the authority`s denial to film some activities proper to a delicate border between two countries without diplomatic relations, I search an analogy in the wind and its effects in the landscape, which as the frontier, it is also unable to be seen but easily perceived.

I studied at the Escuela de Cine de Chile, after I completed my degree with materials of visual anthropology and cultural studies, I worked at a film lab before moving permanently to Spain. After completing the Master of Creative Documentary at the Pompeu Fabra University, I concentrated on developing my own film work linked to essay and experimental cinema. Simultaneously I also collaborate on projects by other filmmakers, I teach and write about Art and Cinema. In 2012 along with Amanda Villavieja, we created Atelier La Faz, a sound art and experimental cinema laboratory.

The work combines material from the Effelsberg radio telescope in Germany with my conversations with several geoengineering experts. Calm images are overlaid with discussions that follow a wide range of topics – questions about visual models and their real life impact, uncertain- ties connected to geoengineering, questions about power and CO2 mitigation, guesses about climate warming and the probability of stratospheric aerosol injection deploy- ment. The design of one of the world’s largest fully steerable radio telescope in Effelsberg is massive yet mechanically relatively simple. It is used to research distant territories far away from Earth, the formation of stars and the disap- pearance of matter into black holes. Also to detect radio waves from neighboring galaxies. I have chosen this as a research object in order to think about what can be perceived and understood through visibility? How visual simplicity fails to convey the complexity of such sets of relationships? Or how to think of inconceivable scales? Effelsberg stems from my research about solar geoengi- neering, that theoretizises the idea, that it will be pos- sible imitate the activity of volcanoes and thus reduce climate warming. One of the most scientifically studied processes describes the spraying of large amounts of aerosols into the stratosphere, where they would scatter the sun’s radiation and thereby reduce the amount of energy reaching the earth’s surface. It would be a delib- erate intervention in the global climate system, it would have to be done for about a few hundred years, and its fully realised form could not be interrupted without cata- strophic consequences.

Ivar Veermäe (born 1982 in Tallinn, lives and works in Berlin) received a BA in photography from the Estonian Academy of Arts in 2009 and a MA in 2014 at Spatial Strategies department in Weissensee Kunsthochschule Berlin. He has received various scholarships and grants – Kunstfonds Arbeitsstipendium, Edith-Russ-Haus Media Art Grant, Elsa-Neumann-Stipendium Berlin and scholarships from Estonian Cultural Endowment. The artist has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Germany, Gallery im Turm, Berlin, Tallinn Art Hall Gallery, City Gallery of Tallinn, Estonia, AV17 Gallery in Vilnius, Lithuania, Cultural Center Belgrade in Serbia, among others. His work has been exhibited in group exhibitions at Riga Biennale, BIENALSUR in Buenos Aires, Venice Architecture Biennale, transmediale Festival in HKW, Moscow Biennale for Young Art, the Bozar in Brussels, the ZKM in Karlsruhe, Rijksmuseum Twenthe, Netherlands, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Kulturhuset Bronden in Denmark, the Kunstverein Kassel, the Latvian Centre for Contemporary Art, the Kunstverein Wolfsburg, the Pinnacles Gallery in Australia. His videos are being screened at the Rencontres Internationales in Paris and Berlin, in HeK Basel, transmediale Festival, e-flux.com, MoMa web platform, AND Festival in Manchester, EMAF in Osnabrück, Kasseler Dokfest, Crosstalk festival in Budapest, in Virtual Memorial, Cambodia.

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date. After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016). After the real estates developers won dispute with conservationists Foster and Partners iconic “ Gherkin ” - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building, in Estonia and London, leads to unpredictable outcomes. For example, terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.

The work of visual artist Ivar Veermäe (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space). Ivar Veermäe aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects. He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB Contemporánea in Buenos Aires, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

Data in the Cloud seems to be disembodied. But in reality, it does have a physical manifestation, albeit a small one, on the hard drives on internet servers. To cool the servers requires massive amounts of energy, so the data is stored in huge centres that look like factories, complete with chimneys releasing large clouds of vapour into the atmosphere. One of the largest data centres in the world with close to 300 000 servers is in St. Ghislain, Belgium, where Google Inc. uses a code name, Crystal Computing. Ivar Veermäe was not granted permission to visit the centre, so he filmed it from a distance. The distance makes the physical location of the data take on a magical quality, like an unattainable paradise, but with unfavourable auspices.

Ivar Veermäe is visual artist concentrating on issues of public space, mediation processes, new technology and networks. His projects are based on long term artistic research, which goal is to analyze the notions connected to information, networks, materiality, locality and also representation. He has had several solo exhibitions in Berlin and Estonia. His work has been exhibited in group exhibitions at transmediale Festival in HKW, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Sociale Verzekeringsbank in Holland, the Kulturhuset Bronden in Denmark, the Mamara University in Istanbul. He has participated with perfomances in Hebbel am Ufer, Berlin and in Month of Performance Art Berlin in ACUD Theater. His videos are being screened in various screenings at the AND Festival in Manchester, EMAF in Osnabrück, Crosstalk festival in Budapest, Carneval of eCreativity in India, and in Virtual Memorial, Cambodia. Ivar Veermäe currently lives and works in both Tallinn and Berlin, Germany. He received a BA in photography from the Estonian Academy of Arts in 2009 and a MA in 2014 at Spatial Strategies department in Weissensee Kunsthochschule Berlin. www.ivarveermae.com

A multi-vocal triptych through peripheral sites of urban infrastructure: a data center, a ring road, and a run-down mall. All three sites were built with certain worldviews: visions of the future and promises of progress that didn't turn out to be the utopias they presented themselves as. Through multi-lingual texts, a site-specific soundtrack, 16mm and 3D images, the spaces and their implications are subjectively mapped, poeticized and questioned. A poetic materialism of decay, renewal, remembering and projecting, "Center, Ring, Mall" is perhaps a mourning, but one that desires and demands a rebirth.

Mateo Vega (1994) is a filmmaker and artist from Peru raised in Amsterdam, and a graduate of Sandberg Instituut, Amsterdam University College and The New School. The starting point of their work is the subjective experience of (urban) space, and the politics, histories and futurities embedded in landscapes, architecture and infrastructure. Their films and installations have been supported by Mondriaan Fund, Netherlands Film Fund, Amsterdam Fonds voor de Kunst, and shown at places like MoMA, Film at Lincoln Center, International Film Festival Rotterdam, Framer Framed, Amsterdam Museum, and Theater Rotterdam.

Voix flottantes dans un espace que l'on devine par oscillations. Sorti.es faire une course, les deux protagonistes s'égarent dans les contextes historiques de l'objet qu'elles.ils cherchent, s'émeuvent et se désillusionnent des rapports humains, passent du temps ensemble et se trouvent des compagnons de voyage. Une séquence en clair-obscur, abstraite et figurative, qui suit les trajets d'une conversation entre personnages invisibles et incorporels, le temps d'un itinéraire indécis. Where do you want to go? I'm sorry, I can' t answer that. Where are we going? Here's what I've found : _ Un jeune homme et sa mère, Robin, Siri, Siri, Chris C. et d'autres.

Ana Vega (née à Bahia Blanca, Argentine, 1987) est une artiste qui vit et travaille à Paris et Saint-Ouen. Elle a étudié à l'Ecole Nationale Supérieure des Beaux-Arts de Paris et à l'école Nationale Supérieure des Arts Appliqués et des Métiers d'Art de Paris ; à Carnegie Mellon University, Pittsburgh (USA) ; à Pittsburgh Filmmakers Center for the Arts, Pittsburgh (USA) ; au Centro Cultural Rojas (Buenos Aires). Elle participe à l'exposition collective « Mademoiselle » curatée par Tara Londi au Centre Régional d'Art Contemporain à Sète (2018-19). Son travail a été montré en 2017 à Arondit, Paris ; au Centre d'Art Contemporain Chanot (Clamart) ; à Arnaud Deschin Galerie (Paris) ; à Vidéobox#4, Carreau du Temple, Paris ; la La Salle de Bains, Lyon, FR ; Festival d'art vidéo de Carcassonne, Cinéma le Colisée, Carcassonne, FR ; et précédemment, notamment au 22 rue Muller, Paris, 2016 ; au Festival vidéo les Rencontres Internationales à la Gaîté Lyrique, Paris, 2016 ; au centre d`art Image/Imatge, Orthez, FR, 2015 ; au Palais des Beaux Arts, Paris 2015 ; à la galerie Escougnou-Cetraro, Paris, 2015 ; à Commonwealth & Council, Los Angeles, USA, 2014 ; Torrance Art Museum, Los Angeles, 2014 ; à la Fondation Ricard, Paris, 2014 ; à la Galerie Florence Loewy, Paris, 2013 ; au Centquatre, Paris, 2013 ; à la Dickerman Gallery, San Francisco, USA, 2013 ; au 58e Salon de Montrouge, Le Beffroi, Montrouge, FR, 2013 ; à la Fondation Rosenblum, Paris, 2012.

Une Mercedes-Benz blanche dérobe la vedette à un pare-soleil. Elle (she) existe en trois modèles. Tourné en 2014 entre San Francisco, Los Angeles et Pismo Beach pour l’exposition I want to Live in Los Angeles / Not the one in Los Angeles au Torrance Art Museum (LA), le film est écrit en trois volets : trois figures, trois créatures dans leur environnement artificiel. D’une durée approximative de deux cents trente secondes, chaque volet se déploie telle une bannière pop-up, agissant comme un interlude publicitaire à l`intention trouble. Les films opèrent d`un amalgame de langages - cinématique, publicitaire, stratégie marketing, clip - auxquels ils n’adhèrent jamais tout à fait, et qui s`annulent par l`illisibilité de la résultante.

Ana Vega (1987) est diplômée de l’École nationale supérieure des Beaux-Arts de Paris (2012) et de l’ENSAAMA – Olivier de Serres à Paris (2008). Elle a également étudié la vidéo au CIEVYC à Buenos Aires. Depuis 2013, elle séjourne régulièrement en Californie dans le cadre de résidences de recherche et de production : Dickerman Prints à San Francisco ; 18th Street Arts Center et Commonwealth & Council à Los Angeles. Elle a participé à l’été 2014 à deux expositions à Los Angeles : Outside crease of elbow à Commonwealth & Council, en duo avec l’artiste Gina Osterloh, et I want to live in Los Angeles/not the one in Los Angeles au Torrance Art Museum, lors de laquelle elle a bénéficié de la publication d’un catalogue aux éditions du Torrance Art Museum. Son travail a été montré à Paris lors de l’exposition collective SUPERNATUREL (commissariat : Neïl Beloufa) à la Fondation Ricard en 2014, puis à la galerie Florence Loewy pour la Collection Joseph Kouli, ainsi qu’au Centquatre dans l’exposition Dépaysements (commissariat : Gunnar Kvaran) en 2013. En 2015, elle présente double décor (commissariat : Alexandre Quoi) en duo avec l’artiste Eléonore False, une exposition en deux temps, au centre d’art de l’Hotel de Gallifet, Aix-en-Provence, puis à la galerie Escougnou-Cetraro à Paris. En l’été 2015, Ana Vega projette son dernier film à cette même galerie, et participe, dans le cadre d’une exposition personnelle, à la programmation satellite du centre d’art Image/Imatge, ainsi qu’à l’exposition collective Acts of Transmission (commissariat : Sarina Basta) au Palais des Beaux-Arts de Paris. L’artiste prépare actuellement un nouveau projet filmique.

Faces, bodies and actions are juxtaposed endlessly. Fragmented pieces of the woman come together and form the volume of what has been her image in the history of cinema; one marked by the routinary domination and exploitation of her body.

Colombian moving image artist and film curator whose work focuses on feminism, anticolonialism, experimental-expanded animation and new technologies. His work has won the ZINEBI Grand Award (Oscar Qualifying) at Bilbao International Festival of Documentary and Short Film, the Silver Lynx Experimental Award at FEST - New Directors | New Films and has premiered several times at Annecy International Animation Festival.

We get in touch with the creative processes of both artists. At the beginning of the video, we see a small interview with Xolisile, which shows how the previous interaction was. He does not want to verbally negotiate his interests, proposing an exclusively corporal dialogue. When asked about his opinion on the system of rules with which is proposed to work, Xolisile continues with an enigmatic and powerful career that works as an escape and as a response at the same time.

Qu´il est bon d´avancer. Avec le vent dans les cheveux sur le pont d´un bateau ou sur la plateforme d´un wagon de marchandises - lorsque le paysage commence à défiler de plus en plus vite devant vos yeux, botre corps sait que vous vous dirigez vers le futur. Mais pourquoi est il tellement agréable d´avancer? "(pourquoi est-ce que je continue à) avancer" commence par cette question, mettant immédiatement en relation la sensation s´aller de l´avant et le `progrès`. Alors que des images enregistrées à bord de trains, bateaux, avions défilent devant nos yeux, on peut ontendre quelqu´un qui pense tout haut; quelqu´un qui se pose des queestions. Des questions sur notre amour de la nature et de la culture en tant que sources d´harmonie et de civilisation: la nature et la culture ne sont elles pas régies par les mêmes lois qui s´appliquent à l´économie? les évolutions qui ont conduit à faire nager les poissons, et à faire prospérer Venise sont elles différentes de celles qui alimentent la frénésie du monde des affaires à Manhattan? `Le progrès" présuppose une direction et un but, mais ni l´un ni l´autre n´a vraiment d´importance comparés à ce qu´on ressent à bord d´un train ou d´un bateau en mouvement. En avant ou en arrière dépend de la direction dans laquelle vous regardez; et en ce qui concerne le ´progrès´, la direction n´a en fin de compte pas plus d´importance tant qu´il y a du mouvememnt.

Veldhoen a reçu plusieurs bourses de la fondation BKVB et de la fondation Mondrian. Il a vendu plusieurs de ses oeuvres à des collections privées ou des sociétés, parmi lesquelles la collection de la banque ABN-ARMO et le Bouwfonds Nederlandse Gemeente. En 1999 et 2000 il travaille en tant que professeur invité à l´académie d´art Minerva (Groningen) et au HKA (Arnhem). En 2003 il fait partie du jury décernant les prix LSVB et René Coehlo. Les services d´"expert Extérieur" de Martijn Veldhoen ont été demandés à plusieurs reprises pour des examens de fin d´année de plusieurs académies d´art (AKI; Enschede, Institut Frank Mohr, Groningen, entre autres)

Il fut une époque où ?l?espace public? était un concept bien défini. C?était une sorte de moyen d?expression démocratique auquel tout le monde avait accès, disponible en toute sécurité et en toute liberté et qui permettait les échanges entre les personnes. Aujourd?hui les choses ont changé ; grâce aux systèmes de télécommunication, on emporte notre espace personnel avec nous, comme une bulle d?air, et la sphère publique est devenue un ensemble de sous-ensembles. Tout le monde est connecté en permanence à quelque chose ou quelqu?un d?autre, de sorte que l?espace de séparation prend une forme virtuelle propre à elle-même, qui change constamment avec le temps. Il reste entre les sous-ensembles quelque chose qui a les caractéristiques d?un vide qui génère des forces. Il aspire un grand nombre d?individus qui ne peuvent pas ou ne veulent pas ?participer?, ou qui n?ont pas accès ou ne veulent pas avoir accès aux moyens qui permettent de connecter les bulles individuelles entre elles. Veldhoen nous montre comment notre perception de l?espace publique a changé, nous ne le percevons plus du tout comme un endroit sûr. Bien que la voix off ait adopté un ton contemplatif, il reste un sentiment de menace et de paranoïa ; on peut lire le mot ?Bombe? sur un mur, comme un graffiti. Les personnages principaux se déplacent dans un espace que Veldhoen a représenté grâce à une sorte de technique de ?photographie en mouvement? grâce à laquelle une image en deux dimensions devient une image en trois dimensions et commence à bouger. On voit des images révélatrices d?un train, d?une station de métro et d?un marché. C?est une série ?d?endroits coupables?. On ne peut pas voir les ?suspects habituels?, mais le temps continue de s?écouler impitoyablement et l?événement annoncé aura lieu.

Martijn Veldhoen est né en 1962 aux Pays Bas. Son travail a été exposé dans des endroits tels que le CaixaForum Palma à Palma de Majorque, Le Fresnoy, Studio national des arts contemporains à Tourcoing, la Sala Rekalde à Bilbao, la Fundación La Caixa - CaixaForum à Barcelone, le National Museum of Contemporary Art (MNAC) à Bucarest, le Kunstmuseum de Bonn, la Dorottya Gallery à Budapest et la Städtische Galerie im Buntentor à Brême.

Le contenu de "obJet's" consiste entièrement en images pornographiques de basse résolution. Cet "objet trouvé" pornographique a été téléchargé sur internet à la suite de douzaines de spams offrant des images gratuites. Peu de temps après avoir rassemblé ces images, le compte a été détruit car, en raison du nombre important de spams, il n'était plus gérable. La vidéo s'emploie à ralentir radicalement le rythme frénétique des rapports sexuels tirés de films pornographiques se déroulant à l'écran, en utilisant un simple procédé d'animation : des couches multiples de photos suivent lentement les mouvements d'un balancier. L'animation entraîne l'apparition continue de parties du corps disloquées et de visages qui émergent au sein d'une confusion mouvante qui les lie, juste avant d'être avalés par la vague d'images suivante. La superposition d'images dissimule autant qu'elle expose. Il n'y a que les parties de visages et de corps qui suggèrent une réalité à plusieurs couches invisible à l'oeil nu.

Nikos Veliotis est né à Athènes, Grèce, en 1970. Artiste vidéo prisonnier dans le corps d'un musicien, il travaille sur des revêtements statiques de déchets numériques et autres matériaux numériques trouvés (par internet ou par des diffusions) combinés avec un son live ou le silence. Il travaille également dans le domaine de la musique comme violoncelliste et artiste vidéo.

This documentary is about the wind, birds, sweat, hands, a wheelbarrow, drought and burial. Could it be possible to disappear in the desert? Totoral is a town that disappears between its hills. a town that was born and raised by the land, by their animals and by survival. The desert is constantly mutating, the trees get drier and the men get older. These men, together with their animals, erase their footprints and their passage through time.

Javiera Véliz Fajardo est née en 1986, à Copiapó, région d?Atacama, nord du Chili. A suivi d’études en Beaux Arts et cinéma à Santiago. En 2011, avec Bárbara Pestan crée la société de production Pocilga. En 2013 continue ses études à la EICTV à Cuba. En 2015, réalise un master en direction photographique à la ESCAC, en Espagne. Elle a travaillé en plusieurs projets en tant que réalisatrice, productrice et chef opérateur. Son documentaire “Habiter la-bàs n'est pas l'enfer, c'est le feu du désert, la plénitude de la vie qui est resté là comme un arbre”, a eu sa présentation en cinema du Reel 2019, prix tenk distribution. Actuellement elle réalise son deuxième long métrage “Agua Marina”.

This video was filmed in February 2022 from one of the rooms at Oriental Hotel in the city center of Hargeisa, interfering in a way in between the two opposing positions to a place that it is being referred to as fictional and real at the same time. -Position One: I was never here and therefore I never filmed this video, these images don't exist because this place doesn't, the hotel, the buildings around, the people and that military entity. The filming took place entirely somewhere else. -Position Two: I certainly was here and therefore I certainly filmed this video, these images do exist because this place does, the hotel, the buildings around, the people and that military entity. The filming took place entirely in Somaliland. Both of this positions emphasize two points of political actions, one being exterior and the other interior.

Vangjush Vellahu born in 1987 in Pogradec, Albania, lives and works between Berlin and Tirana.

Cette installation vidéo à deux canaux est une introduction à ce qui se passe en Cisjordanie, entre les Palestiniens et l'armée israélienne. Cette installation vidéo est conçue pour raconter la réalité quotidienne des Palestiniens en général, à travers l’exemple précis de la ville d'Hébron et de sa résistance à l'armée israélienne. Pour développer ce récit, l'artiste s'est rendu dans la région, où il est entré en contact avec Human Rights Defenders, un groupe local qui utilise la caméra et les enregistrements vidéo comme outils de résistance pacifique. Cette installation vidéo contient principalement des séquences filmées par l'artiste, mais aussi d'autres documents d'archives, donnant un aperçu de l'histoire et de la réalité palestiniennes. Cette réalisation explore le rôle et la nature de la caméra et de la vidéo, en particulier en situations de conflit et d'oppression. Elle fait partie d’une série en cours intitulée "Fragments", que Vangjush Vellahu a réalisée depuis 2015 dans différents territoires affectés par de longues années de conflits gelés.

Vangjush Vellahu est né en 1987 à Pogradec (Albanie), et vit et travaille actuellement entre Tirana (Albanie) et Berlin (Allemagne). Dans son travail, il s'intéresse au voyage comme moyen de récolter et de raconter des histoires. Ses œuvres entremêlent les histoires urbaines d'entités qui, d'un point de vue idéologique et politique, restent en marge, inconnues. En 2018, il a publié son premier carnet de voyage, "Fragments I - Where stories cut across the land", qui a accompagné l’exposition vidéo solo portant le même titre. Ses œuvres ont été exposées, entre autres, au Times Art Center, Berlin (Allemagne); au Museu d'Història de Catalunya, Barcelone (Espagne); au Museum of Modern and Contemporary Art, Rijeka (Croatie); à la Škuc Gallery, Ljubljana (Slovénie); au Hamburger Bahnhof, Berlin (Allemagne); au State Museum of Contemporary Art, Thessalonique (Grèce); au MACA – Museum of Contemporary Art of Acri (Italie); à la National Gallery of Arts, Tirana (Albanie); au National History Museum, Tirana (Albanie) et à la Galerie nationale de Prague (République tchèque).

The video Krisis is a reenactment of a facebook discussion among Russian and Ukrainian artists, which took place in December 2013 upon the tear-down of the statue of Lenin in Kiev during the early stages of the Maidan protests. The discussion unfolds at a pivoting point in modern history. In fact, it occurs at the very moment when History bursts into the scene as a force surpassing individual actors and dragging them into its course in an indefinite capacity somewhere between that of a witness and participant. Krisis should also be understood here as trial or judgment, where twelve jurors debate the meaning of the historical event but fail to pass a verdict. Just as with Pilate’s judgment of Jesus, the decision is not reached and the trial takes on “a continuous and implacable course, an incessant passing and progress through time.” The historical crisis is bound to last like trauma in psychoanalysis: separated from its original context, it reappears in pathological forms in every sphere and at every moment. Structurally and thematically it is a remake of the Sidney Lumet film “Twelve Angry Men.” This classic is an idealized image of the American democracy based on inclusiveness. In the film Krisis the situation is reversed: although the characters belong to the same circle or community, their positions are irreconcilable and mutually exclusive thus making a compromise impossible. There is no way out of this argument but to split apart. The film Krisis plays out a metaphor of a society divided by history, politics, and aesthetics. New challenges further polarize it and augment its internal contradictions revealing a crisis as a state of imminent threat that the society presents for itself.

Dimitri Venkov (born 1980) is a video artist and filmmaker working across art, film, and academic institutional contexts. His works have been presented at Vth Moscow Biennale, First Bergen Assembly, Hayward Gallery, Kino der Kunst, Documenta 14,Oberhausen and Moscow Film Festivals, and others. In 2012 he received the Young Artist Kandinsky Prize for his film Mad Mimes. He was nominated for the Moscow Innovation Prize and St. Petersburg Kuryokhin Prize. Dimitri is a professor of videoart at Moscow Rodchenko School of Photography and Multimedia and has lectured at Yale University, Moscow State University, Moscow Art and Multimedia Museum.