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Dans un paysage désert où les animaux sont affectés par un grondement lointain, un personnage émerge. S'enfonçant plus profondément dans le monde sonore, les sons se mettent à vibrer, le temps perd lentement sa fonction, et une tempête se lève. Le personnage écoute attentivement, tandis qu'une tour sombre semble absorber ses souvenirs sonores.

Bas Verbruggen est né en 1997, à Anvers (Belgique). Il a commencé des études de cinéma à la KASK School of Art, Gand (Belgique), où il a obtenu son master en septembre 2020, avec le film "Environs". Il est fasciné par les formes absurdes dans le paysage quotidien (belge), se concentre sur l'expérience du son au cinéma, et réalise en général ses films seul et toujours dans la perspective d’une recherche audiovisuelle.

Vêtu d’une lourde armure médiévale, Abraham traverse la Bretagne à pied, tel un Don Quichotte du XXIe siècle. Cheminant à travers champs et forêts, villes et villages, cet anachronique et farfelu chevalier suscite l’ébahissement de ceux qui croisent sa route. Il est accompagné dans son périple par le réalisateur, son Sancho Panza, devant et derrière la caméra. Ensemble, ils vagabondent, acceptent le gîte et le couvert qui leur sont offerts, ou bivouaquent sous les étoiles. Peu à peu, Abraham perd pied. Son armure devient sa Dulcinée. Absorbé par son œuvre, l’artiste s’efface finalement derrière le personnage qu’il a créé. Seul reste un chevalier errant menant une quête insensée.

Depuis 1997, Matthieu Verdeil travaille avec de nombreuses sociétés de production pour la télévision, la communication, les institutions et le web. Principalement en tant que chef-opérateur de prise de vue, mais également en réalisation et en montage. Son expérience est très diverse, allant de gros événements en direct, à des reportages réalisés seul en territoire inconnu, en passant par des magazines télé, des documentaires... Il a notamment réalisé des films commissionnés par le MuCEM – Musée des Civilisations de l’Europe et de la Mediterranée, Marseille (France); la Friche Belle de Mai, Marseille (France); le Centre National des Arts Plastiques, Paris (France); la KLAP - Maison pour la danse, Marseille (France); le Palais de Tokyo, Paris (France); le CIRVA - Centre international de recherche sur le verre et les arts plastiques, Marseille (France).

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Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

The work questions the conflation of abstractions such as economic growth and finance with organic natural processes. We hear of flows of capital and liquid assets, but can such dematerialised entities be equated with the movement of water that inherently acts under the influence of natural laws and gravity? Here nature is utilised in an attempt to give monetary concepts and mechanisms a form of naturalised comprehensibility, but perhaps both operate in fundamentally differing ways. This is highlighted in the work through featuring varying uses of running water in relation to accumulation and change over time. Ranging from a biomorphic corporate bank building surrounded by traditional water gardens, to cotton irrigation and fluctuating commodity prices, to a subversion of a Richard Serra’s 1968 film “Hand catching lead”, natural, historical and cultural references are appropriated in order to create a narrative that examines an equation that seems somewhat ubiquitous today.

2013 Les Rencontres Internationales, Haus der Kulturen der Welt, Berlin, Germany Ghost Town, Saison Video, Lille, France 2012 Les Rencontres Internationales, Palais de Tokyo, Paris, France PVM-2130, Furnished Space, London, UK Oriel Davies Open, Oriel Davies Gallery, Newtown, Powys, UK The Lewton Bus: Coming Soon & Conditions, Shortwave Cinema & Vitrine Gallery, London, UK 2011 Open, New Gallery, London, UK Video Guerrilha, Sao Paolo, Brazil Hors Pistes, Pompidou Center, Paris, France 2010 All that glitters is NOT institution, Whitechapel Gallery, London, UK Pop-up Show, The Old Police Station, London, UK Art / Value / Currency Part 2, Eastern District, Brooklyn, New York, USA Images Contre Nature, Theatre des Chartreux, Marseille, France agency, The Agency Gallery, London, UK Saison Video, Espace Croise, Lille, France The Pursuit of Happiness, Arsenal Gallery, Poznan, Poland 2009 Art / Value / Currency, The Pigeon Wing, London, UK The Pursuit of Happiness, This Is Not A Gateway Festival, Kobi Nazrul Centre, London, UK 2007 Visual Deflections, The Roxy Screen, London, UK Punk, Ada Street Gallery, London, UK & Rote Flora / Galerie Lecocon, Hamburg, Germany

In 1963 a spiral staircase was built in Salvador, Brazil, by the architect Lina Bo Bardi as part of the transformation of an old mill into a museum of modern art. The design of this staircase was based on a vernacular technique for making ox cart wheels. The agricultural practice of hugelkultur involves burying large pieces of old wood that rot over time and subsequently become rich fertiliser, providing enhanced growing conditions for the roots of new plantings. A spoken narrative describes the proposed renovation of an old room in need of repair into a new room of unspecified end uses. Such varying but related notions of material transformation and adaptive re-use are featured in the present work as ways of thinking about how the ?new? is produced and the relationship of such production to the already existent. Featuring filmed, found and hand drawn footage, the video is based upon the idea of a spiral staircase, this being utilised for not only its content but also its form through the structural use of evolving repetitions and loops. The work draws on plant science, architecture and speculation to arrive at a questioning of function, progress and growth.

Born: Brisbane, Australia Lives & Works: London, United Kingdom

The work juxtaposes close up images of an ageing Donald Judd sculpture with a dialogue about biological adaptation, function and vestigial structures. The film appropriates the Judd piece that is said to exist in a place somewhere between art and architecture, but a full view is never shown, just upward looking shots of details and the effects of time and nature upon it that increase in frequency as the film progresses. The treatment of the Judd sculpture transforms it from a formal to a representational structure, becoming a questioning not just of the original, but also of function, the inherent qualities of physical and historical structures and permanence or resistance to change. The editing of the film also gradually develops along with the narrative, thus embodying structural adaptation whilst discussing it. The viewer is then left with questions of temporality and change, be it artistic, social, biological, historical or structural, of what something was, what it is now and what it might become.

Matthew Verdon?s practice deals with man made structures and constructs, challenging and questioning them as an attempt to understand social systems and processes that are in constant flux. Change is an unavoidable part of life, the question is how do we deal with it. Utilising past and vernacular structures, Verdon transforms them with notions of the present to speculate, experiment and adapt in order to think about the nature of things and objects in the world, how we shape them and how they shape us. The outcomes of his practice usually take the form of video, collage and small to medium scale objects. Verdon was born in Brisbane, Australia, and presently lives and works in London. He has studied at Chelsea College of Art, London and Goldsmiths College, London. He has exhibited widely both throughout the United Kingdom and internationally, with recent exhibitions including The Object as Image at Kunsthalle Exnergasse, Vienna (2012), An Exchange with Sol Lewitt, MASS MOCA, Massachusetts, USA (2011), Hors Pistes, Pompidou Centre, Paris (2011), All that glitters is not institution, Whitechapel Gallery, London (2010), and Madrid Abierto, La Casa Encendida & Spanish National Radio, Madrid (2010).

In this work, I appropriate user tutorials as a genre in order to investigate the relationship between technology and culture. The work presents a teenage vlogger instructing how to use a fictive app.With media increasingly becoming more life-like and life increasingly adapting the logic of media, sleek interfaces of operating systems, internet browsers, and websites makes it difficult to stop, identify, and think critically about how these things actually structure and monopolize our experience, despite the misleading empowerment of “ user-generated content ” or “ customizable ” options. I am interested in interrupting this seemingly closer getting circuit and seeking not only to deconstruct the formal and instrumental aspects of Internet browsing, but also the identities that are constructed with and within it.

Vered Snear (b. Israel 1982) is an artist based in Toronto and Tel Aviv. Recent group exhibitions include: Superpositions, 21st Biennale of Sydney (in collaboration with Brook Andrew), Museum of Contemporary Art, Sydney (2018); Bronx Calling: The Fourth AIM Biennial, The Bronx Museum of the Arts, New York (2017); I can because you do, Participant Inc, New York (2016); Universum, The International Photography Festival, Jaffa, Israel (2016). Snear was a NYC Art + Law Fellow (2016) and part of the AIM Program, Bronx Museum (2017). She has undertaken residencies at Banff Centre, Canada (2016), MASS MoCA (2018), Vermont Studio Center (2018), and UNSW Art + Design, Australia (2018). Research-based artist Vered Snear investigates the role of visual and textual language to explore intricate relationships between media and ideology. Through her practice, she aims to challenge dominant narratives and representation as a tool that articulates subjectivities, affects, and desires. Working predominantly in video, installation, photography, and sculpture, Snear uses a combination of text and imagery from archives, television, video-sharing and social media that she reworks into fictional scenarios. These fictions hold the potential to create a space of re-imagination and agency.

A deux pas de la gare du Nord de Bruxelles se trouve le quartier Gaucheret. `Deux hectares` presente les problemes auxquels ce quartier et ses habitants sont confrontés depuis quarante ans et qui se posent une nouvelle fois à eux aujourd`hui. Comment survivre dans l`ombre de la plus grosse erreur d`urbanisme jamais vue a Bruxelles: le quartier Manhattan ?

In the background technicians are installing a prestigious exhibition,whilst a smartly dressed lady is guiding a group of people around a series of pristine white spaces, some of them filled with crates and wrapped-up paintings. Along the way she not only comments on the art but also reveals the building to her audience from a unique perspective. Describing interiors, great views and the city?s vibrant opportunities, the lady turns out to be an estate agent who is selling an up-market architectural proposal and a lifestyle that grafts the ?value? of art with its institutions. Moving through the labyrinthine building, she finds herself lost in narrow corridors and staircases. Meanwhile the future development projects itself into the group?s collective imagination, fed by the visionary architectural model on display. ?The Good Life (a guided tour)? redefines our perception of the art institution and raises our awareness of its part in the ?creative city?, a scenario that is being played out in metropoles around the globe. The apparently ?neutral? frame of the gallery space which envelopes the spiritual and cultural heritage of our society, recedes in favour of that of a real estate opportunity. The estate agent is the embodiment of the denial of any possible negative impact that the creative race between cities in a neo-liberal context might generate. Through a generic language that excludes any notion of ?gentrification?, her hyperbolic tour creates an exclusive identity. The film?s elaborate treatment of sound ? as well as the absence of it ? disrupts the untenable perfection of the architecture, and its mediated forms, making the emptiness of the building sensible, which actually is what the estate agent is selling: a lifestyle fantasy projected on an empty shell. ?The Good Life (a guided tour)? is an autonomous single screen video piece that can be presented either in an exhibition or screening context. In its first presentation the video functioned as a ?marketing tool? for a fictional real estate development ?The Good Life?, which was the title of the Vermeir/Heiremans solo exhibition at Arnolfini, Bristol (UK) in Spring 2009. The show was curated by Nav Haq.

Katleen Vermeir (Bornem 1973) works and lives in Brussels (BE) Education/international studio programs 1992-1996 Hogeschool voor Wetenschap en Kunst (painting), St.-Lukas, Ghent (BE) // 1996-1999 HISK, Antwerp (BE) // 1997 Germinations, Miscolc (HU) // 1997-1998 Academy for Fine Arts, Tianjin (CN) // 1999-2001 Ateliers 63, Amsterdam (NL) // 2001-2002 P.S.1, International Studio Program, New York (US) // 2004 Research & residency with Ronny Heiremans, New Mexico (US) // 2006 Platform Garanti, Istanbul (TR) // 2009-2010 CEAC, Xiamen (CN) // 2010 Theater In Motion (T.I.M.), Beijing (CN) Solo & duo shows 2010 LOOP (in collaboration with Ronny Heiremans), The Good Life (a guided tour) at LOOP Video Art Fair with Koraalberg Gallery, Barcelona (SP) // 2009 VIDEO LOUNGE (in collaboration with Ronny Heiremans), CEAC, Xiamen (CN) also featuring a commissioned screening program compiled by Vincent Meessen & Nav Haq // A.I.R extension #15 THE GOOD LIFE (in collaboration with Ronny Heiremans), Arnolfini Center of Contemporary Art, Bristol (UK) // THE PASSING OF A PERFECT DAY (REVISITED), Insert Katleen Vermeir, MuHKA, Antwerp (BE) // 2007 CONJONCTIONS (in collaboration with Ronny Heiremans), Piano Nobile, Geneva (CH) (also presenting Anouk De Clerck) // 2006 THE IDEAL CITY (CONSTRUCTION MODELS) Therese Dion Gallery, Montreal (CA) // A.I.R extension #01 (in collaboration with Ronny Heiremans) One-man show Art Brussels, Koraalberg Gallery, Brussels (BE) // 2005 THE PASSING OF A PERFECT DAY (for GM-C) Koraalberg Gallery, Antwerp (BE) // 2004 CADAVRE EXQUIS, (in collaboration with Ronny Heiremans) STUK, leuven (BE) // 2003 BIGG, (in collaboration with Francis Denys) UTIL, Brussels (BE) // 2002 PARAMOUNT BASICS (EXTENTED) (in collaboration with Ronny Heiremans), hosted by Richard Venlet and Netwerk at MuHKA, Antwerp (BE) // 2001 HORTUS CONCLUSUS, De Ateliers, Amsterdam (NL) // WHEN DID YOU LAST MOVE YOUR FURNITURE AROUND? (in collaboration with Ronny Heiremans), private apartment, Brussels (BE) // 2000 CIRCUITS, De Vierkante Zaal, Sint-Niklaas (BE) (also presenting Eva-Maria Bogaert) // CIAP hosted by Netwerk, Hasselt (BE) (also presenting Karel Breugelmans) // 1999 AMBULANTE ARCHITECTUUR, Netwerk, Aalst (BE)

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

Since 2006 Ronny Heiremans and Katleen Vermeir have engaged in a long-term collaborative practice A.I.R (short for 'artist in residence'). A.I.R examines the dynamic relation between art, architecture and economy. Click here to continue to the A.I.R website: www.in-residence.be

La Belgique est un pays connu pour son « imprécision ». En tenant compte de ceci, ces deux films belges plongent dans l'univers des formes culturelles « quasi ». L'une des notions les plus vagues dans le lexique culturel est celle du « collectif », et ces films examinent des actions artistiques collectives en Belgique ainsi que leur point de rencontre avec la politique dominante et sous-culturelle, et les idéologies culturelles qui les frôlent. Collaboration entre l?historienne de l'art basée à Bruxelles (Belgique) Catherine Vertige et l?artiste Kosten Koper, ces films ne sont ni un avis de décès de l'idéalisme culturel, ni un conte doux-amer sur la perte de l'utopie, mais une série de rencontres soulevant des questions sur les archétypes du collectif, qui ont émergé au cours des recherches et du tournage, allant de la micro-institution à l'orgie. « Est-il encore vivant, ou est-il mort ? » est ce que Resnais a déclaré être la seule question qui méritait d'être posée dans l'art, et le médium du film est utilisé comme outil de recherche pour examiner la valeur et l'inutilité de l'histoire.

Catherine Vertige est née en 1971. Elle est historienne de l'art et membre fondatrice de Komplot, un collectif de conservateurs d?art contemporain basé à Bruxelles. Kosten Koper est né en 1970. Il est artiste, cinéaste, musicien, éditeur de musique électronique, conservateur et organisateur de manifestations. Il a été membre de Diskono, un groupe qui créait des situations et environnements propices à une perception créative de la musique.

Nuoro's unfinished sports hall, a scenic ruin lost in the countryside beyond the last urban offshoots, is the film's protagonist. The undisputed star. Planned during the late 1990s, contracted out in 2012, the project was finally shelved in 2017: what remains is a forest of concrete hubbed pylons, with its mammoth entrance gate, a barren esplanade surrounded by piles of debris and wild vegetation. Through this movie, Alterazioni Video depicts the “Incompiuto” (Unfinished) through a new interpretative key which overturns the scornful conception surrounding Italian unfinished public works. The phenomenon is explored on all its complexity; thanks to a plurality of registers, references to ancient Greek mythology, youtube flavored neorealism, spaghetti western stereotypes with with Sci-Fi twists and turns which will eventually end up flirting with a meta-documentaristic approach. Among Nuoro’s Palasport, different characters roam freely; there is the grumpy guardian who time travels, a young tiktoker lost in the brambles, 4 red necks musician tourists, and a dowsing surveyor fond of monologues and digging. They all have different desires which lead them to different actions, almost as if they were willing characters driven around the concrete stage by that humoungus deus ex machina that is none other than the forgotten ruins of the unfinished sports hall.

Alterazioni Video is a group of five artists founded in Milan in 2004 and now based in New York, Berlin, Faro and Palermo. The members of the group are Paololuca Barbieri Marchi, Alberto Caffarelli, Matteo Erenbourg, Andrea Masu and Giacomo Porfiri. Their work has been exhibited internationally in museums and art institutions such as: Künstlerhaus Bethanien, Berlin 2005, 52nd International Art Exhibition Venice Biennale 2007, Manifesta 7 Rovereto 2008, Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture 2009, Fondazione Sandretto Re Rebaudengo Turin 2010, Museo Maxxi, Rome 2010, Performa 09 and 11 New York, MoMA PS1 Performance Dome New York 2012, Greene Naftali Gallery, New York 2013, PAC Milan 2014, Hamburger Bahnhof Museum Berlin 2015, Quadriennale di Roma 2016, Film Retrospective at Spazio Oberdan Milan 2016, Manifesta 12 Palermo 2018, Galleria Campoli Presti Paris 2019, VAC Foundation Venice 2019 and, Triennale Milan 2020, Museo Nivola Nuoro 2021 In 2007, for the 52nd Venice Biennale, in the main exhibition curated by Robert Storr, they presented "Painting" a work documenting the continuous layering of writing and erasures on the exterior walls of the San Vittore prison in Milan. Writings, images and attempts at censorship become the linguistic elements of one work, one large "painting" that documents, as it progresses, the life of a community. They are also known for creating "Unfinished." For more than 15 years, the art collective Alterazioni Video has been investigating the phenomenon of unfinished public works in Italy, documenting and mapping more than 750 buildings scattered throughout the country, works that were never completed and therefore had no function, becoming monuments to something that never existed. These unfinished works are the ruins of the contemporary era, the perfect interpretive paradigm for understanding our country's recent history. This study led to the definition of a new architectural style: Unfinished. In 2009 the group was invited together with Icelandic artist Ragnar Kjartansson to participate in the performing art biennial Performa 09 NY to perform Symphony No. 1. In 2015 for the exhibition "Dieter Roth und die Musik," curated by Gabriele Knapstein at the Hamburger Bahnhof museum in Berlin they presented Symphony No. 2 Since 2009, the collective has produced a series of 12 docu-films called TurboFilm. TurboFilm is a filmic system or methodology, which refers to the continuous reconfiguration of experience in everyday life and social relations, work, economics, and politics. It aims to raise questions about problematic issues through a cross-format multi-format production that can circulate through different media platforms. In 2016, Cineteca Italiana dedicated a retrospective at Spazio Oberdan in Milan. They have recently collaborated with renowned fashion designer Virgil Abloh as art directors for Off-White's fashion show in Paris for the 2019 menswear collection, as well as collaborating on works inspired by the Incompiuto project presented at the Campoli Presti Gallery. They have published two volumes: Turbo Film - the uncertain future of moving images published by Lupetti Editore Incompiuto - the birth of a style published by Humboldt Books

Videotage (literally merging the two concepts of "Video" and "Montage") is a non-profit interdisciplinary artist collective, which focuses on the development of video and new media art in Hong Kong. Founded in 1985, Videotage began as a facilitator for collaborative time-based projects. In a small shared office with two chairs and table, Videotage`s support to artists came in the form of labour and equipment for production and post-production, and the exchange of ideas. Videotage has since expanded to include publications, education, exhibitions and screenings. Videotage is a vital link in presenting media arts to a broader community. Programming is guided by its Artistic Director and full-time staff, and governed by a Board of Directors. Videotage aims to boost awareness of Hong Kong video and new media art activities locally and internationally. Our artists members has participated in numerous cultural exchanges and art festivals. Including Asia-Pacific Triennial (Australia); European Media Art Festival (Germany); Experimenta (Australia); Hong Kong International Film Festival; Hong Kong Art Festival; Image Forum Festival (Japan); Kwangju Biennial (Korea); Multimedia Art Asia Pacific (Australia); Transmediale (Germany); Venice Biennale (Italy); and Videobrasil (Brazil). Videotage also invites internationally renowned artists and curators to present talks, seminars and workshop in Hong Kong. Previous guests include: Francesca da Rimini, cyber-feminist; Gary Hill, video artist; Barbara London, curator, Department of Film and Video, Museum of Modern Art, New York; Momentum, mixed electronic media performance group; Jun-jieh Wang, Taiwan-based video artist, among others.

Dans le village roumain de Dragalina, Radu, 17 ans, ronge son ennui aux côtés de sa mère instable. Enfermé dans cet univers lourd et apathique, l?adolescent semble attendre un hypothétique changement de vie. Les réalisateurs partent à la rencontre de ce jeune homme, leur cousin, aux prises avec une quête d?identité et de sens qu?il a lui-même du mal à cerner.

"Ecaterina Vidick est née en 1981 à Bruxelles. Après des études de mise en scène à l?INSAS, elle se dirige vers le documentaire sonore. Elle réalise son premier travail en 2004, à l?accueil des urgences d?un hôpital bruxellois situé au c?ur de la ville, où indigents et étrangers cherchent autre chose que des soins. C?est cet « autre chose », justement, qu?elle recherche dans chacune de ses créations où les aspects social et humain occupent une place de choix. « Dragalina », pour une première collaboration fraternelle, est aussi sa première expérience cinématographique." Né le 10 novembre 1978 à Bruxelles, photographe de formation (INRACI, Académie des Beaux-Arts de Saint Gilles, le 75?), Sherban Vidick se tourne vers le cinéma pour le projet Dragalina, initié par sa s?ur Ecaterina. En parallèle, il entame la réalisation d?un projet photographique autour de ce même village et de ses habitants. Ses influences tant en photo qu?en cinéma se situent quelque part entre Raymond Depardon et Stephen Shore

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Joao Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum Sao Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de Sao Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS Sao Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)’

Il y a ce que je vois ce qui m`est montré ce que je ne vois pas ce que je ne peux pas voir On m`invite à filmer un rituel. Celui qu`on peut montrer aux étrangers. Un enfant de la tribu regarde Fantasia de Disney à la télé. On l`interrompt. Qu`est-ce qui habite l`enfant lorsqu`il danse ? Qu`est-ce que je peux voir de ce qu`on me montre ?*Filmé dans la Tribu Xucuru-Kariri, État d`Alagoas, Brésil

João Vieira Torres, artiste/cinéaste franco-brésilien est né à Recife, Brésil, en 1981. Il vit et travaille entre le Brésil et la France. Son travail a été présenté dans de nombreux festivals, galeries et musées, parmi lesquels FIDMarseille (FR) / RIDM (CA) / Olhar de Cinema (BR) / Anthology Film Archives(US) / CentrePompidou (FR) / Palais de Tokyo (FR) / Villa Arson(FR) / MIS São Paulo (BR) / LABoral (ESP) / CPH:Dox (DK), IndieLisboa (PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG), St Petersburg Mus. of Photo (RU), Pingyao Photo Fest. (CN). Tanawi Xucuru Kariri, l`un des leaders de la communauté, notamment en tant qu`éducateur, a co-réalisé Toré (2015), son premier film.

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.

Joao Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum Sao Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de Sao Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS Sao Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)’

Il y a ce que je vois ce qui m`est montré ce que je ne vois pas ce que je ne peux pas voir On m`invite à filmer un rituel. Celui qu`on peut montrer aux étrangers. Un enfant de la tribu regarde Fantasia de Disney à la télé. On l`interrompt. Qu`est-ce qui habite l`enfant lorsqu`il danse ? Qu`est-ce que je peux voir de ce qu`on me montre ?*Filmé dans la Tribu Xucuru-Kariri, État d`Alagoas, Brésil

João Vieira Torres, artiste/cinéaste franco-brésilien est né à Recife, Brésil, en 1981. Il vit et travaille entre le Brésil et la France. Son travail a été présenté dans de nombreux festivals, galeries et musées, parmi lesquels FIDMarseille (FR) / RIDM (CA) / Olhar de Cinema (BR) / Anthology Film Archives(US) / CentrePompidou (FR) / Palais de Tokyo (FR) / Villa Arson(FR) / MIS São Paulo (BR) / LABoral (ESP) / CPH:Dox (DK), IndieLisboa (PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG), St Petersburg Mus. of Photo (RU), Pingyao Photo Fest. (CN). Tanawi Xucuru Kariri, l`un des leaders de la communauté, notamment en tant qu`éducateur, a co-réalisé Toré (2015), son premier film.

Une étrange pandémie / Un écrivain de science-fiction en détresse / Une séquence hantée par des rêves lucides, de douces spéculations et des voix pourtant inaudibles dans l'air.

Michael Vienne est artiste visuel et réalisateur de films expérimentaux. Il habite à Vienne (Autriche). Son travail a été exposé et projeté à l'international.

"Traceurs" est un film sur le Parkour, cette discipline sportive qui consiste à investir physiquement l?environnement urbain. Durant sept minutes, des traceurs se confrontent à l?architecture et s?intègrent au béton.

Né à Moscou, Vladilen Vierny découvre l?Europe par la Belgique où il vécut une dizaine d?années. Maintenant, il étudie la réalisation à la Fémis, à Paris.

Dans la banlieue enneigée de Paris, des jeunes s?aventurent dans une friche industrielle. Leur passage dans ce tas de ruines redonne peu à peu un nouveau souffle de vie dans ce refuge.

2009, in the high plateau of the Peruvian jungle, near the border to Ecuador, a mining company forces their way into the depths of the forest to search for mineral resources. They do this with the government`s permission, but without consent from the indigenous people, the Awajun natives who live there. Known for their fearlessness, the Awajun stand up to the invaders. But in the fight for their land they are brutally struck down by the government. Violence breeds counter-violence. Years later, young natives learn to use the videocameras and start to follow the trail of violence.

Fernando Vílchez Rodríguez (Perú, 1980). He studied Philosophy in Lima and Filmmaking in Madrid. His works are inquiries into the fractures of Peruvian society and the use of video archive, and have been selected in London, La Habana, Karlovy Vary, Buenos Aires, Tokyo, Montreal. Since last year, he is the Head of Programme of Lima Independiente International Film Festival. His last film, "I can only show you the color" had its premiere in the Berlinale Shorts Competition 2014.

En passant par le front du Bassac, dans Phnom Penh, si l?on est un voyageur attentif, on sera surpris de voir surgir une construction qui pourrait avoir l?air d?un immeuble, mais qui ressemble davantage à un grouillement architectural étonnant. On ne perçoit tout d?abord qu?un enchevêtrement de lignes bleues, de points verts et d?étoffes colorées, en suspension sur ce qui devait être autrefois une façade blanche d?architecture moderne.On apprend alors que ce grand organisme vivant a été construit par l?architecte cambodgien Van Molyvann sur le modèle de l?utopie de la Cité radieuse...

Jean Luc Vilmouth was born in Moselle and is now living in Paris. Since 1978, he has been exhibiting his works throughout the world. He also works for art and architecture magazines and writes books on art. He realised several public works. As a director, he made several short films and video installations.

Dans le film, un homme retourne dans sa ferme natale au printemps pour participer aus travaux des champs. Il découvre à la fois le travail physique et la poésie et il est l'objet d'un petit miracle inattendu.

Sampsa Virkajärvi est née Sampsa Kuorevesi en 1970 en Finlande. De 1992 à 1993, elle étudie à l'Académie des beaux-arts de Carrare en Italie. Puis de 1993 à 1999, elle étudie à l'Académie des beaux-arts de Helsinki. En 2001, elle obtient son diplôme de Bachelor of Art (licence en art). Et enfin, depuis 2001, elle étudie à l'Université des arts et du design de Helsinki dans le département "film et télvision."