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Alyscamps revisite la coutume pré-chrétienne connue sous le nom de "drue de mourtilage" de manière non-narrative. Filmée à Arles et St-Gervais en France, Cape Town et Robben Island en Afrique du Sud, cette projection vidéo de huit minutes explore le mythe du vaisseau fantôme (des marins condamnés à naviguer pour l'éternité) à travers une série de scènes hypnotiques de dévastation, d'inondations, d'incendies et de mort. Dans les anciens temps, des cadavres de tout le sud de l'Europe étaient placés dans des radeaux peu profonds et envoyés sur le Rhône vers la célèbre nécropole d'Arles, Les Alyscamps. Là, les corps étaient mis dans d'énormes sarcophages de pierre. Cependant, la population d'Arles, aidée et soutenue par leurs évêques, pillèrent Les Alyscamps et vendirent ces trésors de cercueils en pierres gravées. D'après la légende, l'évêque de Arles fût confronté une nuit par l'apparition d'un vaisseau fantôme qui sortit des brumes de la Camargue. Étonnamment, mille ans plus tard, le futur roi d'Angleterre fût confronté à une apparition similaire lorsqu'il quittait Cape Town à voile en 1881.

Gavin Younge works internationally as an artist, author, and filmmaker. His video installation, Curating the Waves featured on the 2003 Rencontres Paris/Berlin and was purchased by the Göppingen Museum in Germany. His most recent international exhibitions include `Prosthesis` with La Noire Galerie in Paris in May 2007, participation in the `Champs de la Sculpture 2000` exhibition in Paris, and two solo exhibitions in France: `Gilets du Sauvetage` in Nimes and `Collection Privé` in Paris. He attained an MA in Fine Arts in 1988 and holds a professorship at the University of Cape Town. He is the immediate past Director of the Michaelis School of Fine Art and lectures Sculpture, and Videography. In 2007 he will present two works on the inaugural SpierContemporary exhibition. He lives and works in South Africa and France.

Un groupe de figurines du Musée de l'Armée à Paris rejoint Napoléon lors de son expédition en Égypte. Le film explore des enjeux politiques liés au militarisme et à la colonisation, remettant en question les récits historiques traditionnels.

Artiste et cinéaste égyptien, vivant et travaillant entre Paris et Alexandrie. Il a obtenu une licence en peinture à la Faculté des Beaux-Arts de l’Université d’Alexandrie en 2015, où il a également exercé comme assistant d’enseignement. Il a ensuite poursuivi un master (DNSEP) à l’École d’art d’Aix-en-Provence, avant d’obtenir un diplôme au Fresnoy – Studio national des arts contemporains. Amir remet en question l’immobilité de l’histoire coloniale telle qu’elle est traditionnellement présentée dans les vitrines des musées. Son travail se déploie selon deux axes principaux : l’un interroge l’absurdité de la guerre et les récits historiques façonnés par le post-colonialisme ; l’autre explore les thèmes religieux, réinventant les textes sacrés comme des expériences poétiques et transcendantes. Sa recherche s’ancre dans l’étude de la culture visuelle ancienne et de l’histoire des médias, en s’intéressant à l’évolution du mouvement et du récit à travers différents formats tels que la sculpture, l’installation, le film et la vidéo. Un intérêt constant pour la transformation de la fonction et de la signification des objets continue de guider son processus créatif. Cette exploration s’est développée en un ensemble d’œuvres qu’il nomme Kinemania, un terme personnel désignant sa réflexion sur la fascination profonde de la société pour le mouvement visuel. À travers cette approche, il crée des objets cinétiques et mobiles qui incarnent ses recherches sur le mouvement, les médias et l’interprétation. Son film Apoleon a été présenté en première mondiale au festival Visions du Réel en Suisse. Ses œuvres ont également été exposées dans des manifestations internationales telles qu’Ars Electronica (Linz), la Fondation Vasarely (Aix-en-Provence), Le Fresnoy – Studio National (Tourcoing), la BJCM Biennale (Milan), le Musée de l’Industrie Textile (Augsbourg), le Salon de la Jeunesse à l’Opéra du Caire et la Bibliotheca Alexandrina (Alexandrie). Ses œuvres font partie des collections du CNAP (Centre national des arts plastiques) et du FMAC (Fonds municipal d’art contemporain).

a video that attempts to portray an eerie study of seclusion, alienation in and through the image of the fugitive. the main character occupying the images is an anti-hero recluse who resides in a state of self-inflicted introspection. the character is transcended through a narrative thread of non-fiction moments and segments, into a cluster of morose stagnation and insistent malaise. *secrecy molds the morbid drifting of hatem, a man who works in privacy and lives his life accordingly. hatem hides more than he tells, clouding himself in a reclusive state of introspection.

Born in 1989, I am an artist-filmmaker from beirut. I finished my bachelors in audiovisual studies, with a specialization in cinema, from saint joseph university, beirut in 2013 with my film “ transmission ”. afterwards, I went on to collaborate with ashkal alwan, which led to my 2014 ongoing film project titled “ a thin soft layer of ”. I graduated from the film masters program at the netherlands film academy in 2017 with a thesis exploring the self-alienation and seclusion that deviant members of society may inflict on themselves as an act of escapism. I’ve worked in different fields related to film, including cinematography, editing, sound, development, production as well as assembling my own process, first and foremost as a filmmaker, but also as a researcher.

A day in the life of a troubled man. He roams within spaces, drowning in depression and sorrow, trying to live through another day of his mediocre life.

Born in 1989 in Beirut, Lebanon. I studied cinema at the university of St. Joseph (USJ - IESAV) and graduated in 2013 with the film "Transmission" (first and only film). After gaining experience in Theatre as a light designer/operator, I left to focus on working as a freelance short film cinematographer & director. Currently working on a new short film with Lebanese art association Ashkal Alwan?s Video works program.

Les Queens Amber la Garce et Moon se préparent pour une autre grande soirée. Elles se maquillent et s'habillent tout en bavardant. Sur le chemin du club, elles se disputent et manquent de se battre avec une bande de garçons ivres qui les insultent.

Né en 1989 au Caire. Nationalité suisse. Grandit à Genève et passe son adolescence en Egypte. Il a obtenu une licence en HEC et un master en socio- économie à l'Université de Genève. Puis fait un un deuxième Master en communication de la mode à la Central Saint Martins à Londres, où il a passé 3 ans et travaille dans l'industrie de la mode. Depuis 2018, il étudie le cinéma à la HEAD-Genève (Haute École d'Art et Design). Il aime aborder les dans ses films, les thème de l'identité, du genre et de la sexualité.

The sound work is a record of a student protest movement in Taiwan, but it is a mourning of the movement that no longer exists. The sounds in this work were recorded during the 2014 student movement demonstration in Taiwan. The overlap of sounds from near and far creates a state of physical closeness and alienation. I am talking about the body without remorse, immersed in this humid field full of body flakes flying around, to crash into the invisible system. We are in a state where we are in this dilemma of life, in this island, where we are not allowed to face our existence democratically and freely, where we are hidden in this darkness, where we are not seen and not known, where we actually have a will and a mind.

Born in 1978 Video Artist, Director, Photographer, Curator

Under certain influences, we develop a framework but is there anything that goes beyond this framework? Is it the body or the spirit influenced and shaped by cultures and beliefs? This video presents the process of thinking, a dialogue with self-spirit and friends.On inclusion within the country, the border, the body, and the spirit, are things that exist for a purpose free from their limitations in spirit? Do it for yourself and experience the truth. There are three parts in this work narrated from three locations, Taipei Island, Thailand, and Golden Triangle. Here we see a temporary place built in Taipei Island, molded with local materials, and later it will disappear over time. However, we don't know what will be happening to them in the end, just like those election flags buried in the ground and weathered for 20 years. They were created and dug up for a purpose but later disposed over time to become a part of the landscape. Taipei Island is quite like a dumping ground of things, in which their purposes were forgotten and got lost. For the people displaced around the island, their body is the house of the spirit but belongs to their countries. This video also describes about Golden Triangle in which the things are experienced same in Taipei Island. The place is located in the middle, but in the middle that can not be identified. Where does our self-identity come from? Is it shaped by the country, or is it indoctrinated by our own body? Finally, I let go of my thoughts and let my spirit wander freely because this may be a good way of experiencing the truth of things- a real exchange.

( b.1999, Taipei, Taiwan ) is an artist who lives and works in Taipei. The vocabulary words used in the work consists of various fields of knowledge, such as nature, technology, and history to construct a multi-perspective viewing. The mediums include installations, videos, and photographs. The core of the work stems from life experiences, exploring and identifying self, spirits, places, and histories. The individual is viewed from a topological perspective, and the ideas are generated by navigating through different systems and coordinates to interweave a common location in points. Through different processes, the purposes are to view how these experiences have impacts on the individual and shape multiple subjectivities.

We seem to be overlapping. Sometimes wondering how it feels for my mother seeing her shadow in me. In the video, the impression of mother is described from a third person, the grandmother. The mother and daughter of the previous generation and that of the modern reflect each other. Based on vague impression, grandma measures the difference between the two, mistaking the appearance of the daughter and the grandson. The face in that photo didn't exist in a particular place in the timeline, it was the mother’s ,grandmother's, family's, prior to her own soul. The relationship between mother and child not only shares the bloodline, but also reflects historical context, growth experiences and family backgrounds. The youthful appearance of the mother is reinterpreted with the identification of the child, using the photos as a medium to reenact the past. The child plays the role of inheritance, imitating, internalizing, reconstructing.Using 3D modeling digital technology to reconstruct the past scenes, giving the viewer an additional illusory guidance toward time awareness.

Yu Ting Tsai (b.1999, Taipei, Taiwan) is an artist who lives and works in Taipei, with a major in Mechanical Engineering during undergraduate studies, currently pursuing a master's degree in New Media Art at Taipei National University of the Arts. Tsai will hold solo exhibitions at the Kuandu Museum of Fine Arts(TW) and Changhua County Art Museum(TW) recently. His major awards include the Taoyuan International Art Award(TW), Taiwan Emerging Art Awards(TW), Festival PROYECTOR 2024(ES), Da Dun Fine Arts Awards(TW), etc.

The collision and fusion between civilizations, the transformation of the geological landscape, the conflicts between human beings and natural forces – after thousands of years, they have been molded into specimens of human ambition in different times and displayed on the timeless wilderness. However, the heavy significance of their conflicts in their own time has been dissolved by the endless wilderness and become a simple landscape beaming their messages to the timeless vast. When the shadow of modern the signal tower passes over the beacon tower built two thousand years ago, the significance of conflicts in different times collapses at the same time. Indigenous ecological knowledge and modern civilization representing advanced productive forces coexist in the gaps of collapse. The sublime will to strive for arete blocked by giant building fortifications echoes over the desert as permanently and incoherently as the signal sent by the towers. The passion and ambition for conflict have not diminished but have become more and more intense. The exploration of the deep sea and space, obsession and fear of artificial intelligence, everyone’s determination to fight against everyone, trade war, economic war, energy war, technology war, information war, cold war thinking, clash of civilization, identity politic. Human society seems to be in an eternal state of conflict, a stasis. This series of images are three longitudinal slices of this stasis.

Bian Yunxiang, creative designer/media artist who does visuals in digital space, self-taught in visual communication, trained in postdigital storytelling, specialising in the vast in-between, working as a design technologist in luxury, practicing media art and critical design around the topic of digital geopolitics, lecturing at the Royal College of Art and China Academy of Art, exhibited works in London, Eindhoven, Athens, Dublin, Shanghai, Hangzhou, Bejing, Kaohsiung, completed commercial art commissions from Burberry, Harrods, Nike, BMW, and Arcteryx through the years. Currently based in Shanghai, previously in Hong Kong and London. In my practice, I use media technology to express concern about geopolitical-related topics and create poetic moving images in the context of post-colonialism and global civil war through the construction of digital geo-landscapes. This allows me to document and depict the diverse and complex ways in which people engage with extreme environments from a political philosophy perspective.