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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.

In "Unframed", the city is object of observation from inside a nebula black, floating, cavernous, mysterious. As in the depths of a primordial cave, the urban overview is fragmented in a collage-city in form of video. The drone unveils the Milan urban fabric with its patterns, grains and densities: from historical city emerges a new contemporary skyline. "Unframed" investigates the possibility to create images with mobile and fluid outline, an aerial view, sinuous and oscillating, in an incessant fluctuation. "Unframed" documents the odeporic approach of the contemporary culture in which the perception is an idiomatic overview.

Born 1974 in Faenza, Italy. He lives and works in Milan, Italy. Multi-disciplinary artist and architect, in his practice he uses the languages of video, performance, sculpture and installation to document ephemeral architectures and temporary utopias. He has taken part in solo and group shows in institutions such as Lincoln Center for the Performing Arts, New York; Antology Film Archive, New York; PAC, Milan; Medialab-Prado, Madrid; Museo de Arte, Lima; Xinjiang Biennale; MACRO, Rome; Kulturhuset Museum, Stockholm; MMOMA - Moscow Museum of Modern Art, Moscow; Ace Gallery, Los Angeles; Angel Orensanz Foundation, New York; Istituto Italiano di Cultura, Amsterdam; Spazio Oberdan, Milan; Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle, Wien; Stadtgalerie, Kiel; Centre d'Art Santa Monica, Barcelona; Fondazione Merz, Turin; Kunstverein, Augsburg; National Museum, Wroclaw; Mart - Galleria Civica, Trento; Galleria Nazionale d'Arte Moderna, Rome. In 2013 he presented the film project Luciano Berio/Devis Venturelli/Tempo Reale. In My End is My Music produced by Fondazione Romaeuropa. His videos and experimental films have been screened in International Film Festivals including Dance on Camera Festival, Videoformes, 25FPS Experimental Film Festival, FIVA - Festival Internacional de Video Arte, Romaeuropa Festival, Tehran International Short Film Festival, Regensburg International Short Film Week, New Filmakers NY.

Games are generally defined through agreements—rules, within the framework of which, a certain degree of freedom reigns, but also compelling constraints. Many of these conventions are not explicitly identified as such, for example, how earnest one should be, or how much inner distance to keep. And a game does not at all define the more precise (individual, social, etc.) characteristics that participants should display in order to be among the players. For that reason, it is incredibly perplexing to see the adults in Borjana Ventzislavova’s Gesellschaftsspiele / Real Games in relations of play that we generally dismiss as puerile. In clever montages with players who appear deliberately misplaced or “miscast,” the film expands five of these contexts; or rather, interlocks them in such a way that we are rendered witnesses to an uncanny alienation. The nursery rhymes recited with a wink of the eye at the start are merely gentle harbingers of the dead serious shooting game with blowpipe arrows played by a group of sophisticated ladies and gentlemen in the concrete column foundation of a massive building shell. No less ambiguous is the cops and robber game that adult, suit-wearing players engage in around a monumental memorial in Sofia. And another game that’s not so bad is the acrobatic Chinese jump rope enjoyed by three smartly dressed women in a closed school yard. Entirely enigmatic, on the contrary, is a group wearing only underwear who pursue an odd ritual around a quartz lamp sculpture in the film’s sole interior space—until it turns out that what they’re doing is nothing other (or perhaps entirely different) than a simple Ring-Around-The-Rosey. The film’s transfiguration and simultaneous unmasking, has a double effect: on the one hand, as recognition that even the most casual activities are controlled by some type of role playing; and on the other—which is perhaps even more sobering—that their symbolic contexts withstand even the cleverest infiltrations. Whereby freedom and compulsion can even boil down to one and the same thing at times. And that is, no least, what the “real” aims at; uncatchable, as it were, these revealing and at the same time enigmatic games. (Christian Höller)

Born 1976, Sofia, BG, currently based in Vienna and Sofia; graduated visual media art / digital art at the University for applied arts Vienna. She works in the fields of film/ video, photography, installation and new media. Her works have been exhibited internationally in solo and group shows as well at film and media art festivals.

?La Sortie des Usines Lumière à Lyon? (1895) est le titre du premier film à avoir jamais été projeté en public. D´une durée de 45 secondes, il montre les ouvriers sortant d' une usine photographique appartenant aux frères Lumière, à Lyon. Dans son film "Arbeiter verlassen die Fabrik", Harun Farocki explore cette scène en utilisant l´histoire du film. Pour "Klang-Film", le film de Farocki à été re-monté en une version plus courte. La plus grande partie des dialogues ont été coupés au remontage, faisant du film quasiment un film muet. La musique, rajoutée par la suite, est donc devenue un élément nouveau et d'influence sur la forme, et elle ouvre une nouvelle dimension dans la perception des images. "Klang-Film" explore le conterpoint sensoriel des sons et des images, ainsi que leur interaction, ambiguité et heurts. Comment une musique particulière façonne-t-elle la perception des images? Comment les images façonnent-t-elles la perception d´une musique particulière? Dans son livre "Audio-Vision: Sound on Screen", Michel Chion avance l´idée que son et image sont toujours indépendants, et que seuls notre conditionnement et l´utilisation de nos conventions de synchronisation nous font croire que ce n´est pas le cas. Citons la métaphore éclairante du réalisateur français Robert Bresson : "Images et sons, comme des gens qui font connaissance en route et ne peuvent plus se séparer"

Mario Verandi (Buenos Aires 1960) à étudié la musique en Argentine, à Barcelone et à l´Université de Birmingham (GB).Les oeuvres de Verandis comprennent de la musique éléctroacoustique, des morceaux audiovisuels, des installations sonores et des travaux radiophoniques. Il était compositeur résident à La Muse en Circuit (Paris), au Studio Césaré (Reims), TU-studios Berlin, au ZKM (Karlsruhe) et invité du programme des artistes-en-résidence (artists-in-residence) à Berlin. Verandi a été récompensé entre autres lors de la Bourges Electroacoustic Music Competition (France), Musica Nova Competition (Prague), CIEJ Electronic Music Awards (Barcelona), Prix Ars Electronica (Linz), Stockholm Electronic Art Awards (Sweden), et ZKM European Bell Days Commission Prize (Germany). Ses oeuvres ont été jouées et diffusées dans le monde entier. www.marioverandi.de Harun Farocki est né en 1944 à Nová Jicin, dans la partie de la Tchécoslovaquie annexée par les allemands. Il a étudié à la Deutsche Film- und Fernsehakademie Berlin (DFFB) de 1966 à 1968. Aprés avoir occupé quelques postes d´enseignant à Berlin, Düsseldorf, Hambourg, Manille, Munich et Stuttgart, Farocki a été nommé au poste de professeur invité à l´Université de Californie, Berkeley, entre 1993 et 1999. Farocki a réalisé près de 90 films, dont trois longs-métrages, des essais cinématographiques et des documentaires. www.farocki-film.de

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 couple of times a year, the sky turns red in France. Sand dust from the Sahara is passed through a difference in air pressure from North Africa to Southern Europe. This dust, a time capsule containing cesium-137 from the French nuclear tests in Algeria, covers everything. The film exposes the impact of a war that was never fought. A French veteran and an archeology student share and speculate on what will be remembered and what will be hidden under the sand forever.

I am a filmmaker and artistic archeologist based in Rotterdam (NL). I graduated with a BFA in Audio-Visual Arts from Gerrit Rietveld Academie (NL) in 2012 and a MFA in Fine Arts from Goldsmiths University (UK) in 2016. I believe in the revealing value of long-term research. The deep dive into complex matter is an important part of my work process. With my films I want to make complex (invisible) social, political and economical issues visible. My work often arises from the question; what remains after a war and what is the impact of these remains on people and nature? I am working as an artistic archeologist digging through our most recent history. Before it is nostalgic, before it is a story that lies generations before us. Not only to demystify, but to make the mediated and almost historicized and perhaps forgotten reality personal again. I was a resident at the Jan van Eyck Academie (2018-2019), Visio - European Program on Artists Moving Images (2018), Film Forward (2020-2021) and Rotterdam Writers' Rooms (2024). I have shown my films at IFFR, Visions du Réel, Eye Filmmuseum, Kasseler Dokfest, Dokufest, Ji.hlava IDFF, LeGuessWho?, Sharjah Art Foundation, Nederlands Film Festival, Art Rotterdam, MAXXI Museum and on Dutch television, among others.

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 ?

En 2017, l’Angola a lancé son premier satellite dans l’espace… qui a été déclaré perdu peu après. As Aventuras do Angosat est le rêve né de cette entreprise avortée, sous la forme d’un film musical écrit et interprété par Isis Hembe, l’une des figures majeures de la musique urbaine angolaise, ici métamorphosée en Man Ré. Le film est tourné en un seul plan séquence dans le quartier de Cazenga, à Luanda, avec de jeunes talents émergents.

Resem Verkron (1999) est membre de deux mouvements culturels majeurs à Luanda : le collectif d’art urbain Verkron Collective et Geração 80. Son premier court métrage, Lola & Mami (2021), explorait la masculinité toxique. Marc Serena (1983) a coréalisé le documentaire primé Tchindas (2015), diffusé par PBS aux États-Unis. Son long métrage El escritor de un país sin librerías a été présenté en première à l’Alternativa et a remporté un DIG Award récompensant un journalisme d’investigation européen d’exception.

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

Chasing The Dot (2021–en cours) est une montagne russe immersive de lumière et de couleur, une plongée sensorielle dans les limites mêmes de la perception. Au sein d’un vaste espace Ganzfeld sans horizon, le public dérive à travers des champs de couleur semblables à des tempêtes, irradiés par une lumière indirecte d’un million de lumens, laissant surgir des images rémanentes éclatantes. Au centre de leur regard, un point unique flottant, le point fovéal, s’embrase et demeure fixe, où que l’œil se tourne. Présentée en première au Rijksmuseum Twenthe, cette installation explore les seuils stroboscopiques et la synesthésie. Inspirée par la technique du cut-up de Brion Gysin, la partition lumineuse, minutieusement conçue, fragmente et réassemble la vision, provoquant des hallucinations à yeux ouverts. Les spectateurs vivent une fusion sensorielle, voyant avec leurs oreilles et écoutant avec leurs yeux. Chaque modulation de teinte, de fréquence, et de déclin révèle l’architecture cachée de la conscience, en dévoilant ses charnières et ses coutures. Le paysage sonore émerge directement du bourdonnement, des pulsations et du crépitement des puissantes sources lumineuses, s’entremêlant de manière organique aux hallucinations visuelles. Il résonne comme une tempête électrique rythmique, dense, texturée, et hypnotiquement synchronisée avec les vagues de couleur. Ici, la lumière devient une matière tangible. La perception se transforme en une danse chorégraphiée, faisant de chaque spectateur un co-auteur. L’œuvre ne s’accomplit pleinement que lorsque les visiteurs ferment les yeux, créant des cinémas intimes derrière leurs paupières closes. Chasing The Dot démontre à quel point notre perception du réel est malléable, et révèle combien notre cerveau est extraordinairement fin dans l’élaboration de la conscience.

Philip Vermeulen est un artiste néerlandais qui explore les fondements de la perception humaine. Ses installations se vivent avec tout le corps, tout en mettant à l’épreuve la physicalité de la lumière et du son, du mouvement et des vibrations. Vermeulen expérimente une grande variété d’éléments incluant mouvement, lumière, compositions sonores, physique, nature, technologies numériques pour créer des hypersculptures qui sollicitent et déjouent les sens du spectateur. Ces œuvres cinétiques agissent comme des catalyseurs, dissolvant les frontières entre esprit et matière, ouvrant de nouveaux espaces d’imagination et bousculant les perspectives établies. Ses installations ont été présentées dans des musées tels que le Stedelijk Museum Amsterdam (NL), le Stedelijk Museum Schiedam (NL), le Rijksmuseum Twenthe (NL), le Museum Voorlinden (Wassenaar, NL), le Museum for International Light Art (Unna, DE), iMAL (Bruxelles, BE), le Light Art Museum (Budapest, HU), l’Industrial Art Biennial (Labin, HR) et Art Rotterdam (NL). Ses œuvres ont également été montrées dans des festivals de création numérique, notamment Sonic Acts (Amsterdam, NL), Ars Electronica (Linz, AT), le Festival Interstice (Caen, FR), Mapping Festival (Genève, CH), Novas Frequências (Rio de Janeiro, BR) et CTM à la Halle am Berghain (Berlin, DE). En 2024, Vermeulen présentera sa première grande exposition monographique, Chasing The Dot, au Rijksmuseum Twenthe.

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.