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Sequenza is an experimental film project by Manon de Boer and George van Dam based on the composition Sequenza VIII for solo violin by Luciano Berio . From a long history of cooperation - to include the soundtrack of Manon de Boer's film trilogy Sylvia Kristel - Paris (2003), Resonating Surfaces (2005) and Think about Wood, Think about Metal (2011) and her portrait of George van Dam in Presto, Perfect Sound (2006) - came the desire to work together to make a movie based on Sequenza VIII . This piece is for its crystalline structure one of the most beloved compositions by George van Dam . Together with Manon de Boer, he wants to explore how rhythm and structure of this composition can be articulated in conjunction with moving images to penetrate. So even deeper into the composition Manon de Boer is fascinated by the image of the intimate contact of the chin, the ears, the face of the violinist with the violin, which extends in the movement of his arms and hands to the body and space, the instrument - body of the violin as a material, physical transition between two abstract elusive poles : that of the mental construction of the composition and experience of its sounds in space. Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space.

Manon de Boer (°1966 in Kodaicanal, India) completed her artistic education at the Akademie Van Beeldende Kunsten, Rotterdam, and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated. Her work has been exhibited internationally, at the Venice Biennial (2007), Berlin Biennial (2008), Sao Paolo Biennial (2010), Documenta (2012) and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna. Her work has been the subject of monographic exhibitions at Witte de With in Rotterdam (2008), Frankfurter Kunstverein (2008), London South Gallery (2010), Index in Stockholm (2011), Contemporary Art Museum of St Louis (2011) and Museum of Art Philadelphia (2012), among others. De Boer currently teaches at the School of Arts in Ghent and ERG in Brussels. She lives and works in Brussels.

Concrete & Samples I, II, III is a series of 16mm films on sculptural architecture. What the buildings and site in all films have in common is the idea of ?architecture as sculpture? and a very distinct use of concrete that seem to depart from the free form of the whole in a sculptural manner. In the absence of a traditional narrative, it is the space itself, that takes the role of the protagonist, while the camera proposes a narration through its travel and observation. The church of Fritz Wotruba, in Vienna looks like an enlarged piece of abstract sculpture, a kind of three-dimensional synthetic cubist arrangement of 152 concrete blocks arranged vertically and horizontally, but asymmetrically, in which the narrow spaces produced in-between are made use of as windows and doors.

Aglaia Konrad is a photography based artist living in Brussels whose work has focused mainly on metropolitan urban space. She has been advising researcher at the Jan Van Eyck Academy in Maastricht and is currently teaching at the Hogeschool Sint-Lukas in Brussels. She had presented her work in solo exhibitions in Siegen, Antwerp, Geneva, Graz, Cologne and New York, among other cities, as well as in international group shows such as Documenta X (1997), Cities on the Move (1998-1999) and Talking Cities (2006). Her work has been documented in several exhibitions catalogues and monographic publications such as `Elasticity` (2002) and `Iconocity` (2005). For her latest book `Desert Cities` (2008) she received the Infinity award for the best photo book 2009 of the International Center for Photography, New York.

De Boer a invité le pianiste basé à Bruxelles Jean-Luc Fafchamps à jouer deux fois de suite la composition « 4?33?? » de John Cage devant un auditoire, dans un studio des P.A.R.T.S. (Performing Arts Research and Training Studios) de Bruxelles (Belgique). En une seule prise, la caméra filme l'exécution de cette composition musicale « silencieuse », avec les trois signes de ponctuation indiqués par Cage sur l?unique ligne de la partition à 1'40", 2'23" et 2?30", que Fafchamps, qui demeure le reste du temps toujours calme et absorbé, interprète en touchant un chronomètre. Tournée sur une pellicule 35 millimètres, ce qui assure la netteté des détails visuels, cette première partie est mariée à un son ambiant enregistré de façon synchrone, joué en surround Dolby lorsque l'?uvre est projetée. À la seconde interprétation, qui correspond à la deuxième partie du film, De Boer coupe tous les sons, à part les clics du chronomètre de l?exécution.

Manon de Boer est née en Inde, vit et travaille à Bruxelles (Belgique). Elle réalise des films, des vidéos, des installations, publie et enseigne à KASK. Elle fait partie de la plateforme de production-distribution Auguste Orts. Utilisant la narration personnelle comme une méthode, Manon de Boer explore la relation entre le langage, le temps et les revendications de vérité. Elle explore également la perception du temps par le biais d?un usage conscient du film en tant que médiateur artistique, et par l?analyse de ses effets sur le spectateur. La façon dont elle désincarne l?image, le son et la musique dans ses compositions, modifie subtilement le schéma classique de la perception du film.